Group Project Outline Pt.3

32FST378: Filmic Art Professor: Dr. Grace Epstein Presented by: Marco Arredondo Glenn Painter Jeff Wallin

Presentation 5: Born Into Brothels

1. Engage class in an analysis of one or two key scenes. 2. Focus on important artistic elements or innovation made in the film. 3. Give any important information about the films context and development.

4. Questions to provoke class discussion.

1. Engage class in an analysis of one or two key scenes

Scene 1: Scene where Tapasi is fetching water before she has is cursed at for not picking up the bucket. Nine minutes into the movie Tapasi is involved in a confrontation with an older woman in her same apartment complex over a water bucket. Right beforehand, Tapasi is stating “Even if I was poor, I would have a happy life. One has to accept life as being sad and painful”. For these words to come out of her mouth to me is utterly amazing. Being eleven years old at the time, her maturity level and understanding of the world is far beyond any eleven year old child’s that I have ever come across. In a society such as ours it seems that the average eleven year old is more preoccupied with homework, little league, video games and toys rather than the ways of the world. These children are having thoughts that do not cross Westerners minds until maybe their mid twenties or thirties. “I need to do something with my sewing and photography, I need to make a living and take care of my sister and me.” The fact that she is planning on taking the guardian role over her sister at such a young age and already focusing on career choices for her future is very honorable and speaks much for her integrity. While watching their interviews during the movie I did not feel that they were children, but little adults who have hit the realities of life at a very young age. What impressed me most about the children was their commitment to their family, their acceptance as being a part of that family and having to contribute towards the family in order to have the basic necessities. Whether it was through working, washing pots, cleaning houses, cooking, babysitting, or as Avijit stated, “Some men drink and don’t pay, then I have to go after them and be mean….because that’s all we have.” The maturity level and level of responsibility placed upon these children is absolutely amazing to me, placed in the right environment and given the proper opportunities and resources I believe there is no limit to what these kids can accomplish. Scene 2: Last Chance

At one hour and 12 minutes into the move a sequence entitled “Last Chance” begins. The second scene involves Puja’s Grandmother and Mother reacting to an offer that has been extended for Puja to attend a boarding school that will give her wonderful opportunities for a better life. This offer is free of charge, and was apparently supported by the two family members as they accompanied Puja, Zana and the film crew to the school to fill out application paperwork. When the time arrives for Puja to go, the Grandmother denies any fear of her leaving and admits that it maker her feel good for her to go. She quickly adds an irrational addendum, though, that she cannot do this on a Thursday. Her mother died on a Thursday, and this has been a source of great suffering ever since. He mother agrees, that she should not do this today. Another day is fine. In the end, she does go, and the Grandmother is obviously sad to see her leave. This scene is a simple sequence of shots. It open with a transitional tracking shot following Puja up the stairs to introduce us to Puja’s home and set the stage for the next few shots. The next shot cuts rather crudely to Puja’s grandmother talking. This is in character with documentary filmmaking, but one gets the sense that the conversation built up to this point, and the camera person quickly trained the camera in this direction as the conversation took form. The grandmother is mostly centered in the frame, but camera motion is unstable, and jerky. This adds to the realism of the moment, and lets the viewer feel that this a conversation that is unplanned and definitely not staged. The camera then cuts to Puja’s Mother. Zana then explains that this is the last chance. It is today or never. The mother is preoccupied with chores and acknowledges the statement, but they continue to assert their position, not on a Thursday. Puja states that she is going, and ultimately does. I believe that this also shows another aspect of the despair that these children face. Even if opportunities are found for a better life, often the parents don’t want them to go. It can be hard for us to relate to. If I was in such a desperate situation, I believe that I would jump for joy and sing praises for such an opportunity for my children. Are they selfish? Are they afraid to loose what little they have, their children? Do some of them need the money the kids can make now or the future revenue they can produce “on the line?” Are they scared, or mentally unbalanced? We are left only with unanswered questions and a feeling of disbelief at the circumstances and touch of the hopelessness and despair that the children must feel.

2. Focus on important artistic elements or innovation made in the film.

This movie can invoke a strong emotional response in the view through an association or attachment to the characters. A relationship almost develops over the one hour and 23 minutes through three phases of the film; the introduction, the body, and the conclusion. The directors’ first goal is to make a connection between the viewer and the subjects of the film. This begins in the opening shot. An image of a single naked light in a dirty building appears, swarmed by insects with the words “RED LIGHT FILMS presents” fading in. This begins to set the stage in the red light district.

Then the movie cuts to an extreme close up of the face of a child, framed left from nose to forehead, eyes looking right, toward the light (we infer this from the dark background and strong light in the foreground.) This is where the Directors first use the relationship establishing technique of the actor looking directly into the camera. In slow motion, the child’s face turns, angling toward the camera while they eyes remain fixed on their target; they the eyes turn to look us square in the face. We feel that we are not merely passive observers, but are being observed back. An uncomfortable relationship begins to build.

This disturbing is replaced by another; a bird’s eye view of a side street in Calcutta. It is shot askew, adding to the disorienting nature of the bird’s eye shot in the first place. The main street is well lit, but the side street gets progressively darker as it tracks away from it’s big brother.

A montage of scenes then play out depicting night life in the brothels, intermixed with close ups of the children while seeing shots that show the living areas of the brothels in increasing frequency until we get to the title frame. Having been drawn into the setting, we are given background information and visuals. One of the children then introduces us to each of the others in a very childlike way. She names them, and tells us something personal, and random, about them. Sometimes this is funny. Sometimes it’s inconsequential. Those of us with children can immediately identify with her and the others. We can see our own kids doing the same thing to introduce their friends. The Directors now have our attention. The body of the movie serves to develop the characters and their story. We continue to connect in the process in very standard and predictable ways. We see humor and tragedy. Their relationships and personalities are explored as we watch and see similarities and differences between them and children we know. As the movie closes, we are now hoping for good outcomes. The children are every bit as deserving of a good life, and just as much potential, as we have found out, to develop in ways similar to any other child. We see some of the children heading off for school, and some not. Avijit heads to Amsterdam and has a wonderful time. We then find out that he returned home and chose to enter the school as we would have liked; yea! The most troubled youth pulls through. Maybe they all have a chance. This begins the final run down for each of the kids.

We see a short shot of each character, first in motions, then still frozen as we learn their fate. This transitions them from the live characters we have come to know and connect with to static children again. To still have a bond, but now realize, rather suddenly, that the events have already transpired. In fact, possibly quite some time ago. We are rooting for ghosts of a sort, but continue to hope that they are all well now. Slow, sweet, ethnic string instrument music plays in the background to add to the emotion of these shots. Manik’s dad would not let him go to school.

Puga’s mother took her out of school.

Shanti left school.

Gour still lives in the brothel.

This is not ending well. Again, we feel the despair of the children. Tapasi ran away and joined a school. That sounds … ok.

Suchitra’s aunt would not let her leave the brothel. This story isn’t turning out the way the viewer would want. Then, subtly, and quite abruptly the music changes tone. As the scene cuts to Kochi in motion, it transitions into a sustained chord, somewhat high in tone and low in volume. It suggests that something wonderful or magical is about to happen. It is at this time that the directors come back to the powerful technique that they used in the second shot of the film. They use a close up, and Kochi’s face and eyes turn to stare directly at us. We now the emotional attachment to the children that has been developed throughout the movie. We have been disappointed by the bad news about many of the children’s future. The background music builds anticipation. We are then caught off guard, and emotionally vulnerable as Kochi fixes her gaze, the act bringing about discomfort and a strong attachment to her through direct eye to eye contact as the emotional message is delivered. She stayed in school. We then see words we did not expect. “She is happy and doing well.”

This is a brilliant beginning and end to the picture. It is hard not to have an emotional reaction to this final shot, the last visual we see in the film. The use of engaging shots and techniques employed to create a personal identification with the children make this simple documentary award winning.

3. Give any important information about the films context and development. In Calcutta, there are over 7,000 women and girls who live and work as prostitutes. In 1997, New York-based photographer Zana Briski went to Calcutta to photograph the prostitutes, penetrating through the web of brothel owners, pimps, police, local politicians and organized crime syndicates to better understand their lives.

While she was living in the brothels she developed relationships with a group more stigmatized than the women: their children. Spurred by their fascination with her camera, Zana began to teach them photography, and to see the world through their eyes. From 2000 to 2003, she conducted weekly workshops and taught them camera basics, lighting, composition, the development of point-of-view, editing, and sequencing for narrative. The goal of the project was to provide a safe place for the kids to be themselves, learn, have fun, and in the process, come to believe in their own self-worth. She watched in wonder as the children came back with vibrant self-portraits, family pictures, and street scenes that offered stunning tableaus of Bengali life. Zana and filmmaker Ross Kauffman documented the children and their stories in the film "Born into Brothels," which went on to win over 25 major awards, including the 2005 Academy Award for Best Documentary Feature. Through the film, audiences all over the world learned of and fell in love with the spirited and resilient young photographers. They witnessed how art and education can empower children growing up in difficult circumstances to transform their lives. Zana founded Kids with Cameras in 2002 to raise money and awareness for the children through print sales, exhibitions, film festivals and a book of their work. The children's images have been exhibited in Calcutta, Europe and all over the U.S. A book of their photos was published in 2004. In order to help more children from Calcutta's red-light district, we have also been raising money to develop a safe home specifically for the children of prostitutes to provide an opportunity for them to learn, thrive and lead future generations. An educational curriculum based on the film has also been created to reach out to students and teachers across the U.S. and around the world. Kids with Cameras has since sent other committed and passionate photographers to teach photography to children growing up in areas of poverty, abuse or conflict. We have developed workshops for Palestinian and Israeli children in Jerusalem, child domestic workers in Haiti and the garbage collecting community in Cairo. (Glenn Painter)

4. Questions to provoke class discussion. Questions: (Glenn Painter) 1) What was your favorite picture and why? 2) Which child impressed you the most? 3) How did you feel when the mother was yelling and cursing at their own child? 4) What impressed you the most about the scene at the beach? (Marco Arredondo)

5.) How does their culture differ from ours (United States) in regards to how children are viewed and treated? 6.) Which child or children do you think will actually make it out of the vicious cycle? 7.) How did the Calcutta government view the people from the Red Light District? 8.) Which child’s story touched you most? (Jeff Wallin) 9.) What are the differences between the cinematography of “Hero” and “Born into Brothels?” 10.) Should the parents of these children have the right to deny them attendance to boarding schools designed to remove them from such terrible conditions? 11.) One of the jacket comments says, “A remarkable and moving story about the power of art to transform lives.” In the case of children like this, can art transform lives? If so, how? 12.) Are there lessons we can take away from this movie and apply locally in our own areas?

Main Character identification / description for topic discussion: CHILD:

BACKGROUND:

Avijit

UPDATE (Apr 09):

11, is an innately talented artist and has won many competitions for his paintings. Charismatic and restlessly creative, his images were among the most compelling of the workshop. Avijit was invited by the World Press Photo Foundation in Amsterdam to be part of their Children's Jury in 2002. In 2005, Avijit received a four year high school scholarship to attend an incredible school in America. He's begun his first year.

20, is studying film at NYU and thriving in the program and the city.

10, lives in a small room with his sister Shanti, and loves to fly kites. Though quiet, he is a daring photographer, who likes to experiment with composition. He says he now likes photography more than kites.

17, is studying at FutureHope, where he is doing very well.

Manik

Shanti 11, lives with her brother, Manik and their mother. She likes to photograph her family, but she like to use a video camera even more. Shanti filmed one of the classroom scenes in Born into Brothels.

18, is studying at FutureHope, where she is doing very well.

11, wants to be a teacher and dreams of being able to take care of her younger brother and sister. She photographs the harsh reality of her life, using the camera to tell her story. Tapasi now lives in the Sanlaap home for girls.

19, left Sabera on her own accord three years ago and has since married.

14, is a gifted photographer, taking photographs of daily life on her rooftop. Suchitra's photo of her sister's friend was chosen as the cover of the Amnesty International 2003 calendar.

22, has married and moved out of Calcutta.

10, is shy and sweet. She uses the camera to escape her surroundings, taking pictures of her family, animals, gardens, and parks. She says she prefers taking photos to editing. She now lives at the Sabera Foundation home for girls and is learning English and computer skills.

17, is studying at a private high school in Utah and getting top marks in all of her classes..

11, photographs mostly in her room which she shares with her mother, her great-grandmother and her pet parrots. A tomboy at heart, she and Gour are best friends.

Believed to still be living in the redlight district but has lost contact with Kids with Cameras.

Tapasi

Suchitra

Kochi

Puja

Gour 13, is sensitive and thoughtful. He dislikes his environment and wants to use photography to change it. He photographs his friends playing cricket, his pet rabbits, and his best friend Puja. Gour plans to go to University with the support of Kids With Cameras.

Believed to still be living in the redlight district but has lost contact with Kids with Cameras.

REFERENCES: http://www.kids-with-cameras.org/news http://www.myspace.com/bornintobrothels http://en.wikipedia.org/wiki/Born_into_Brothels http://www.imdb.com/title/tt0388789/

*** GROUP PROJECT UPDATE No.2 *** This is what we have so far,  I will stop here for now, feel free to tweak or adjust as necessary.  If anyone needs certain images from the movie, give me the time it occurs in the movie and I will get them for you. I have a program that takes images directly from the movie. Jeff let me know where your key scene is and I’ll cut two frames from it as I did for the one above if you need me to.  If we can, let’s try and have the discussion questions answered at the latest by Friday, everything as a whole by Saturday night. I’m trying to have the project turned in by Sunday night or Monday morning the latest.  Please add to the project or send me info to add as you come up with it.  Every time a change is made, I will send out an updated edition of the project.  If anyone has any ideas or ways to make things better please let me know ASAP.