Tsotsi

=**Tsotsi**= (I tried to add in photos but the links won't work)

**10 Choices**

 * Scene:**
 * This is from the 2005 South African Movie, //Tsotsi,// directed by Gavin Hood. It is about Six days in the violent life of a young Johannesburg gang leader. In this scene Tsotsi threatens and forces a woman named Miriam to breast-feed a child he accidentally kidnapped. In this scene we again see glimpses of a compassionate Tsotsi, who before was rather dead-eyed and cruel. **


 * Camera Angle:**
 * In this scene it starts off with Tsotsi following a woman through the back streets of the village. Each shot is shown in a medium shot during this part. When showing the back of the woman it is almost like a P.O.V shot. Creating a stealthier tone. As we enter the house it is again mostly medium shots but there are several medium close-ups of the girl to show her reaction the situation and let the viewers get a sense of how she is feeling during this scene. Then as Tsotsi forces her to feed the baby there is a dolly shot moving in towards his face. This helps soften the character that we first saw in the beginning of the movie. We realize along with Tsotsi that something as simple-minded as a baby can bring a kind-heartedness to an otherwise dead-eyed man. We also see this later in the scene where she is washing the baby and it dolly’s into her and then Tsotsi’s reaction, then a quick flashback as it reminds him of his mother. On of the last shots of the scene is a wide shot showing both characters in the scene. This creates equilibrium in the scene and shows not only the fact that a baby can bring two people like them together, but also that Miriam understands Tsotsi and they may not be so different after all. It pushes towards one of the themes of change, and how Tsotsi grows from a steel-eyed lowlife to a caring, compassionate, and generous man.**
 * Editing:**
 * This scene starts off with longer edits. As it is a scene where one character follows the other (not a chase scene) it has slower edits. Each shot is longer than it would be if it were a chase scene. Then it jumps to quicker cuts when Tsotsi begins to threaten the girl with his gun. This brings up the tension and lets the viewer feel just as surprised, confused, and scared as Miriam is. Then as she begins to breast feed each shot begins to slow down again. Making each character slightly more relaxed in this situation.**




 * Lighting:**
 * The lighting in here is bright and makes the light seem natural. As every character (apart from one of the policemen) is black each scene has to be lit different from a person with lighter skin to compensate. So outside in the village the lighting is warm (the sun) and this creates an image of a village that all works together. Though this is juxtaposed during the next scene to show the also illegal dealings that go on in the village. Inside the house however it is lit a bit darker than outside and at first the lighting is harsh on the faces of each character. Then in such sequences as the dolly shot, the lighting is softened to help create this soothing feel, and help see the relation between how Tsotsi feels about his mother and the baby. During the part where she is bathing the boy she is light in very warm and bright light as if from Tsotsi's view, she is an angel.**




 * Music:**
 * There is not much music in this scene other than background noise. At the very end of the scene there is African music playing (this is sort of a transition used to foreshadow the illegal side of the village). There is no music in the first part of the scene to create tension and a standstill effect between Tsotsi and Miriam. The only music used during this scene is during the dolly shot as Tsotsi sits on the couch remembering his mother, there is this soothing almost daydream long drawn out note. It pushes the theme of realization for Tsotsi.**


 * Color:**
 * The color is cooler inside the house than outside. Warmer colors usually are associated with happy feeling, while cool colors are more associated with darker scenes, tragic issues, or a death scene. During this scene Tsotsi threatens Miriam to breast feed the baby he accidentally kidnapped. This is a relatively tense and frightening scene. Especially for Miriam when it is revealed that the baby was inside the bag the entire time.**
 * Costume:**
 * The costumes in this scene (as well as the movie) are based along the lines of what typically a person from a small African village would dress like. Miriam is dressed in traditional dress; she is wearing a light colored dress with a head covering. She also has a “strap” or bit of cloth wrapping the baby around her body. She is displayed as a higher member of the village (as in a respected individual). While juxtaposing this is Tsotsi’s costume; he is wearing a tank top with what can only assumed to be a stolen leather jacket, black pants and a necklace. He dresses his part as a “tsotsi” or a thug. He is a darker character who by the end of the film changes is clothes and is dressed lighter. Showing the transition between a thug and a man with compassion.**
 * Setting:**
 * The setting of the movie is set in a village/slum outside of Johannesburg. The difference between Miriam’s home and Tsotsi’s home are quite contrasted. Miriam’s flat is much nicer, spatial, and lit lighter. Tsotsi’s home is dark and dimly lit. With crap laid down everywhere. The only place he can figure to put the baby is in an old shopping bag. This shows the two different lifestyles and personalities of Miriam and Tsotsi. It also shows the lifestyle Tsotsi grew up in and where he comes from.**


 * Directing Actors:**
 * <range type="comment" id="463457780_8">During this scene Miriam is shown reacting to the threats that Tsotsi is making. Miriam pulls out a knife as Tsotsi is pointing a gun at her. This shows her courage and fearlessness. He then says he won’t hurt the baby but continues to point the gun at her. He only stops as she begins to feed the baby. He then begins to ask about her works of arts and begins to smile when he watches her breast-feed. After she realizes that he is smiling at her he changes his mood. He needs to again assert himself and points the gun at her again.</range id="463457780_8">**
 * Camera Distance:**
 * Most of this scene is shot through medium shots; the only close-ups in the scene are to show Miriam’s reaction to feeding the baby and to Tsotsi threatening her. There is two dolly shots and one wide shot in the scene. These help create a tone of tension and then relaxation between the two characters. We never feel like prying eyes and we feel like Miriam's home is our home. Tsotsi makes himself at home in her house and we feel the same way he does.**