Discuss how realism is created in the film drama Yasmin Essays

Discuss how realism is created in the film drama Yasmin Essays Discuss how realism is created in the film drama Yasmin Essay Discuss how realism is created in the film drama Yasmin Essay Yasmin, written by Oscar award winner Simon Beaufoy, is a topical drama focused around a predominantly Asian community in the north of England. Starring Bend It Like Beckham and East Is East actress Archie Panjabi, Yasmin, explores problems and prejudices faced by Asian people in the aftermath of the atrocities in America on September the Eleventh. Using characterisation, setting, camera, mise-en-scene and sound, director Kenneth Gleenan, creates a sense of realism through an accurate depiction of life in an Asian community after the terrorist attacks. In this essay I have chosen to focus on the opening scene, and I will discuss methods used in Yasmin to create realism through media and film-making techniques, and how successful Yasmin is in doing this. I will also look at the writers and directors representations of life for British Muslims after the tragedies of September the Eleventh. The narrative in Yasmin is set in modern day and tackles contemporary issues and prejudices that can be easily applied to a Muslim community. Based around events on September the Eleventh, the audience have a universal awareness of the actual events that it focuses around, however many of the problems surfaced by Yasmin are not exclusive to a Muslim community and are faced by many minorities of other cultures, religions and minority groupings. So the problems portrayed in Yasmin are a representation of a wide scale issue faced by minorities in post 9-11 world where racial tensions are often high. The story follows the journey of a typical British Muslim, Yasmin, through the time before, during and after the attacks in America. It looks at all aspects of Yasmins life from her daily goings on to family problems, culture clashes and the hostility she faces from the people close to her as well as ordinary people on the street and the police. Torn between the traditions, customs and values of her Asian upbringing and the way of life the Western world has taught her; Yasmin is a troubled, young British Muslim struggling to find her true identity. The director, in the opening scene, makes this fact very clear in the short section when Yasmin hides so that she can strip herself of her traditional Muslim clothing in favour of typical Western fashions; taking refuge in a field just outside the town in which she lives. Through costume and lighting, the Mise-en-Scene in this section is a medium used powerfully and effectively to accurately portray the personal problems Yasmin faces whilst not making them so obvious as to allow the audience to draw some conclusions and personal opinions themselves. Through costume, by placing on a pair of tight jeans, realism is displayed, firstly because Yasmin is a young girl, and she chooses to wear tight jeans that strongly define her feminine figure, something that would be considered a very normal thing to do for a young girl to do, even though a slight stereotype. Secondly, the jeans can be read as a symbol of her rebellion against her traditional values, and the restrictions they place upon her as a female. They are symbolic of true problems, faced by many people. The use of costumes in the opening scenes quickly establishes Yasmin as a gritty TV drama; indeed, Yasmins cheap and ill-fitting jeans are a far cry from the glamorous designer outfits modelled by A-list celebrities in glossy, over-produced Hollywood productions. Instead, Yasmin attempts to accurately portray problems faced by people who are torn between cultures whilst avoiding patronising or offending these people by being true to life. Apart from costume, lighting also plays a significant-role in the opening scene. The use of bright daytime light along with the grey and white clouds casts shadows around Yasmin, and can be seen clearly in the birds eye view shot that looks down on Yasmin as she drives down the road out of the countryside. The shadows could be seen to represent her emotions; her guilt and the demons she faces, and are created through a realistic use of light. The birds eye view shot also allows the audience to see the tranquillity of the setting in that there are no other cars or people in the scene. This is realistic in the fact that it becomes clear to the audience why Yasmin chooses to take cover there as it is tranquil, and she can be alone with her thoughts to consider what she is doing, the consequences, but also why she is betraying her family and traditions, or whether if she wasnt changing her persona through her clothes she would be betraying her true cravings to truly integrate and conform to British customs. Also illustrated in the car, and the fact that it is a sports car shows her want to escape, and the fact that it is old is realistic as it shows how Yasmin is young and in real life wouldnt be able to afford much else. To create a naturalistic setting, this scene is shot in daylight to create a muted colour to further emphasise the fact that Yasmin is a gritty TV drama, which contrasts the vibrant and melodramatic styles generated by Technicolor, as used in Hollywood productions. Whilst putting on her jeans, the character of Yasmin is framed irregularly on the left of the shot, and to her right are plants and trees. This could be seen as the directors representation of how Yasmin is only in her youth and is still young and naà ¯Ã‚ ¿Ã‚ ½ve, and has not yet grown in to a tree. A portrayal of Yasmin being young and wanting to have fun and escape and shackles that she is faced with is realistic, believable ethic that I believe the Director is trying to represent. The sound in this section is often scarce, or dim at best. Birds twittering, wind blowing, are the distant digetic sounds that can be dimly heard by the audience. The silence in this section could be seen as a conscious decision made by the director to show Yasmins isolation and how she is lost amongst her own thoughts and own problems, and not by any specific pressures that are being enforced upon her by other outside influences, it can be read as being representative of her situation making her an int rovert. They are realistic sounds that are in context to the setting, and add to the effect of the peaceful tranquil atmosphere that I feel Yasmins character seeks in the country. As Yasmin drives away, some traditional Asian music plays, a non-digetic sound, into a point of view shot showing Yasmin looking at the road ahead, that could represent the path Yasmin will take, and in combination these two mediums create a question for the audience, what path will Yasmin take, a realistic problem someone in her scenario would ask themselves, am I British or am I what my father has made me, Muslim? The second part of the opening scene I have chosen to look at is the portion in which Yasmins elderly father, who maintains the local Mosque, and Yasmins brother, go to mosque to begin the mornings call to prayer. Like the scene with Yasmin, the director immediately outlines what the coming storyline will focus upon, however unlike Yasmins section of the opening scene, the father is faced with problems that arent as personal issues, but issues the local Muslim community are facing as a whole. As the father and brother walk around to the mosque, along littered streets with broken bollards, continuing to install realism into the setting, there is a long shot down one of the streets that is extremely powerful in creating a realistic setting in context with the financial state of the community and geographical setting as it is filmed on real streets, not a film set. There is a long shot of a row of houses, poorly maintained, shabby, poor looking with cars of a similar stature. This is ty pical of the northern England industrial areas, where houses were built quickly, all looking the same, and with it being set in northern England, this is typically a poorer area with the decline for manual labourers in the industrial sector, less jobs are available to people living there causing a higher rate of unemployment. Also, on nearly every house there is a satellite television receiver dish, which is a very strong symbol of a stereotypical average home in modern Britain, everyone sitting around watching their televisions all day. As if a neighbour looking out on the characters, there is also a high angle shot that creates a fly-on-the-wall effect for the audience, creating realism. In contrast to the other section of the opening scene, this scene doesnt have any non-digetic sound, and is filled with digetic sound that create realism, people talking, cars driving past, footsteps, children shouting on their way to school, typical sounds of people going about their daily routin es. The scene then cuts to the father and brother approaching the shutter that covers the entrance door to find graffiti spelling out a racist comment. Go Home Paki is in big letters across the shutter. This is hard hitting and very strong in showing realism in a number of ways. Firstly, it is powerful in the fact the racist term Paki is seen as a taboo and highly unacceptable, and shocks the audience, and provides a hook setting the atmosphere for rest of the story. Secondly, the language used is the type of comment a racist person would use, and would be specifically used to upset the victim by using racist derogatory language, but by also suggesting that the Muslim people dont belong in England, and raises a similar issue faced by Yasmin in the other section of the opening scene for the father, where is my home? Although his body language and facial expressions obviously express that he feels pain from the comments on the shutter, the fathers reaction is quite off hand suggesting that this is a regular occurrence, making the audience empathise with the situation and allowing the audience to familiarise themselves with the trials and tribulations the family are facing. A high angle- long shot, of the inside of the mosque, rich red carpets with ornate motifs typical of Asian design follows. It is a clever use of mise-en-scene to create an authentic and accurate setting inside the mosque. The carpet, with the high angle shot makes the father and brother look very small, almost engulfed by their traditions and culture, represented in the vibrant colours of the ornate carpet. The next shot is a low angle close-up shot upon the shoes of the two characters as the take them off. There is a great contrast in the style of footwear with the father wearing traditional smart black shoes, whilst the teenage son wears trainers. This is a contrast seen amongst many people from different generations, and is also realistic in the sense it shows that the Asian families are a little more relaxed in the boys mixing with the western culture a little more, whereas the girls are expected to stay traditional as if they were following Islam in Asia, and the use of the clos e-up shot emphasises this. The dà ¯Ã‚ ¿Ã‚ ½cor in the mosque is old woodchip paper, beginning to peel from the walls, again symbolic and accurate to the people of the area and their financial status. Finally, the last major point that shows realism in this section of the opening scene, is the final shot where the father is cleaning the graffiti off of the shutter. The digetic sound of the son calling people to prayer over the loudspeaker is sustained in the background, realistic in its continuity, and as the father begins to clean the paint, he firstly begins to clean the word home. I found this slightly surprising as I would have believed that he would have erased the racist term, Paki, yet upon reflection I came to believe that this was a way the director represented to his audience what troubled the father, like Yasmin, the most, is that he doesnt know where home is anymore, he is torn between two cultures. His home, with his traditions and beliefs, or the culture he believed would bring him prosperity, but in the face of adversity he has grown accustom to. As I outlined when discussing this point before, this is a strong use of realism as it is a real and sensitive approach t o real problems and issues faced by Asian communities living in areas of Britain. Through camera angles and framing, using non-digetic and digetic sounds, mise-en-scene entwined within the narrative, Yasmin creates a powerful, accurate and audience sensitive depiction of problems and prejudices faced by British Asians within families, cultures and society, outlined by use of historical context in the form of events from September the Eleventh. I believe that the filmmaker and writers were trying to show how hard it is to find what normal is when you are trying to find a common ground seen as acceptable between two very different cultures built on different traditions and values. Speaking to an universal audience, and in my opinion acting as a voice for Asian people in particular, the Director is trying to emphasise the unfairness of the problems faced by minorities in our society post- September the Eleventh. Yasmin shows that minority communities should be strong and have dignity and pride in all of what they are, but it also provides a message for White British people, and racists, asking them to understand how hard life is for British Asian people.

Philosopher Hypatia of Ancient Alexandria

Philosopher Hypatia of Ancient Alexandria Known for: Greek intellectual and teacher in Alexandria, Egypt, known for mathematics and philosophy, martyred by Christian mob Dates: born about 350 to 370, died 416 Alternate spelling: Ipazia About Hypatia Hypatia was the daughter of Theon of Alexandria who was a teacher of mathematics with the Museum of Alexandria in Egypt. A center of Greek intellectual and cultural life, the Museum included many independent schools and the great library of Alexandria. Hypatia studied with her father, and with many others including Plutarch the Younger. She herself taught at the Neoplatonist school of philosophy. She became the salaried director of this school in 400. She probably wrote on mathematics, astronomy, and philosophy, including about the motions of the planets, about number theory and about conic sections. Accomplishments Hypatia, according to sources, corresponded with and hosted scholars from other cities. Synesius, Bishop of Ptolemais, was one of her correspondents and he visited her frequently. Hypatia was a popular lecturer, drawing students from many parts of the empire. From the little historical information about Hypatia that survives, it is surmised by some that she invented the plane astrolabe, the graduated brass hydrometer, and the hydroscope, with Synesius of Greece, who was her student and later colleague.  The evidence may also point to simply being able to construct those instruments. Hypatia is said to have dressed in the clothing of a scholar or teacher, rather than in womens clothing. She moved about freely, driving her own chariot, contrary to the norm for womens public behavior. She was credited by the surviving sources as having political influence in the city, especially with Orestes, the Roman governor of Alexandria. Hypatias Death The story by Socrates Scholasticus written soon after Hypatias death and the version written by John of Nikiu of Egypt more than 200 years later disagree in considerable detail, although both were written by Christians.  Both seem to be focused on justifying the expulsion of the Jews by Cyril, the Christian bishop, and on associating Orestes with Hypatia. In both, Hypatias death was a result of a conflict between the Orestes and Cyril, later made a saint of the church. According to Scholasticus, an order of Orestes to control Jewish celebrations met with approval by Christians, then to violence between the Christians and the Jews. The Christian-told stories make it clear that they blame the Jews for the mass killing of Christians, leading to the banishment of the Jews of Alexandria by Cyril.  Cyril accused Orestes of being a pagan, and a large group of monks who came to fight with Cyril attacked Orestes. A monk who injured Orestes was arrested and tortured.  John of Nikiu accuses Orestes of inflaming the Jews against the Christians, also telling a story of the mass killing of Christians by Jews, followed by Cyril purging the Jews from Alexandria and converting the synagogues to churches.  Johns version leaves out the part about a large group of monks coming to town and joining the Christian forces against the Jews and Orestes. Hypatia enters the story as someone associated with Orestes and suspected by the angry Christians of advising Orestes not to reconcile with Cyril.  In John of Nikius account, Orestes was causing people to leave the church and follow Hypatia.  He  associated her with Satan and accused her of converting people away from Christianity. Scholasticus credits Cyrils preaching against Hypatia with inciting a mob led by fanatical Christian monks to attack Hypatia as she drove her chariot through Alexandria. They dragged her from her chariot, stripped her, killed her, stripped her flesh from her bones, scattered her body parts through the streets, and burned some remaining parts of her body in the library of Caesareum.  Johns version of her death is also that a mob for him justified because she beguiled the people of the city and the prefect through her enchantments stripped her naked and dragged her through the city until she died. Legacy of Hypatia Hypatias students fled to Athens, where the study of mathematics flourished after that. The Neoplatonic school she headed continued in Alexandria until the Arabs invaded in 642. When the library of Alexandria was burned, the works of Hypatia were destroyed.  That burning happened primarily in Roman times.  We know her writings today through the works of others who quoted her even if unfavorably and a few letters written to her by contemporaries. Books About Hypatia Dzielska, Maria.  Hypatia of Alexandria.  1995.Amore, Khan.  Hypatia.  2001. (a novel)Knorr, Wilbur Richard.  Textual Studies in Ancient and Medieval Geometry. 1989.Nietupski, Nancy. Hypatia: Mathematician, Astronomer, and Philosopher.  Alexandria  2.Kramer, Edna E. Hypatia.  The Dictionary of Scientific Biography.  Gillispie, Charles C. ed. 1970-1990.Mueller, Ian. Hypatia (370?-415).  Women of Mathematics. Louise S. Grinstein and Paul J. Campbell, ed. 1987.Alic, Margaret.  Hypatias Heritage: A History of Women in Science from Antiquity Through the Nineteenth Century.  1986. Hypatia appears as a character or theme in several works of other writers, including in  Hypatia, or New Foes with Old Faces, a historical novel by Charles Kingley.