Fluent Essays

For paper #2, Id like you to compare the use of scenes in The Florida Project and The House on Mango Street, and say HOW scenes work in place of a traditional plot. Why? Both the film and short novel dont have much of a plot.  But as weve discussed (and the Sean Baker explains), sometimes underrepresented stories need to be told IN NEW WAYS.... its your job to show these ways AND how they work... What to do. 1) Id like us to write a 5 page essay (not including images) that does the following things: a) A brief introduction that summarizes your argument about--whats the point? IF these works dont have traditional plot, how do you think the scenes function to ADD up / reveal something about these characters/and their world. (Write this/revise this after writing the entire essay). IT should be a summary statement (short) guide to the essay. b) In a short paragraph or two, overview the similarities between The Florida Project and the selections from The House on Mango Street (first chapters) that we read. This comparison should emphasize how the stories are told (through scenes--without direct plot) and WHY underrepresented stories need NEW WAYS of telling... Remember to QUOTE from the BAKER argument/video at least once during this essay https://www.youtube.com/watch?v=d8CN42xvKWM c) The next section:  Drawing on BLOG 1 and BLOG 2 last week (revised!!!), choose TWO Scenes from The Florida Project and do AN ANATOMY OF A SCENE analysis that shows HOW the scenes WORK to reveal character, their imagination, and their world.  BE Specific. Talk about style / choices THE SAME WAY Baker does in Anatomy of a Scene below. Remember: Include an image from each of the scenes that youre talking about. You can talk directly about the image, or use it as a way of referring to your scene. d) Finally, choose a scene from MANGO Street to discuss in depth. How does the author Cisneros--LIKE A FILM DIRECTOR!--avoid drawn out plot.... BUT EFFECTIVELY creates a sense of character and place in the film.  Be Specific. Speak of metaphor, imagery, voice in exploring this idea. Resources:  Mango Street here: https://mrperrysclassroom.files.wordpress.com/2019/02/the-house-on-mango-street.pdf this is blog one and blog two  Blog 03/18/2021 In the film Scene from “ The Project Flim,” he went into great detail on why the shot of the manager. He said because of the sky and the way the camera was looking up at him it made him look like a hero. This was true because before this scene you can clearly see people being mad over the fact that the power went off. To stop this he goes and fixes the problem and everyone praises him and he himself feels like he’s a hero. The director also puts a camera where you can see the motel clearly. When Moone and her friends started to fool around in the room they’re not supposed to, they turn off the power. Because of the camera showing the motel, it gives the movie more life because you can see people coming out of the doors. This plays a big part in the setting. Character development was pretty much a big thing in this movie. The movie goes to the kids that are just having fun and burning up condos to hardships in their parts. It captures the laughs and the struggle Moone’s mother had to face. From getting cheaper deals on perfume to sell in order for her to pay rent to scamming a man for 400 dollars. It shows how Moone had to beat her friend Ashely for calling her a whore while the camera shows Ashely’s child watching all of this. This scene just shows how raw life can be for children. Blog 3/21/21 P 56 Halley and Moonee take swimsuit selfies, Moonee takes photos of Halley in sexy poses The importance of this scene is you clearly see that this is not a mother and daughter relationship. Is more like a sister and sister relationship. Which can cause some bumps in the road. Moone doesn’t really respect her mother by the tune of voice she uses. When Moone was eating pizza she wiped her hand on her pillow, Moone’s mom corrected her and she said, “This is my pillow.” Something has to change or Moonee will go down the same path as Halley.  P 81–83 Halley goes to ask Ashley to help her with the rent. Ashley tells her everyone knows she’s been “whoring out.” shows her swimsuit selfie photos she has on her ad. Halley physically attacks Ashley and beats her in the face. She leaves, realizing Scooty has seen. She runs to her room and vomits. Moonee watches This scene was very crazy. The director’s choice of having Scott looking at the fight while the camera guy is shooting clearly showing that Scotty is watching his mother getting beat up by Halley. In my opinion, I felt like this was the start of a traumatic experience for Scotty. You have to understand it from Scotty’s perspective. Ashley and Halley were best friends and Halley beating her up was just not okay.  P 1–3 MOONEE, SCOOTY and DICKY run to adjacent motel Futureland to check out the new arrivals. Game of who can spit furthest on the car from balcony. GRANDMA STACY and kids JANCEY and LUCI catch them, kids run away laughing. STACY is mad I feel like this was such a great scene to start off the movie. You just see three children being kids causing chaos. Just catches the attention of the viewers. I feel like because of this scene we see a great majority of the characters. We see the manger, Moone, Scotty, Dicky, Jancey, and her grandmother. It’s the start of Moonee and Jancey friendship and we also see what kind of mother Halley is. Once she found out what the kids were up to she didn’t take it as serious or punished them she took it as a joke. Jancey grandmother is so mad, but Halley takes it very calm like no care in the world. Moonee and Scotty starts realizing they’re getting tired so they ask Jancey for help and she agreed. Making her grandmother yell at her and Halley once again giving her the I don’t care attitude. this is the mango street story  https://mrperrysclassroom.files.wordpress.com/2019/02/the-house-on-mango-street.pdfThe House on Mango Street We didnt always live on Mango Street. Before that we lived on Loomis on the third floor, and before that we lived on Keeler. Before Keeler it was Paulina, and before that I cant remember. But what I remember most is mov­ ing a lot. Each time it seemed thered be one more of us. By the time we got to Mango Street we were six-Mama, Papa, Carlos, Kiki, my sister Nenny and me. The house on Mango Street is ours, and we dont have to pay rent to anybody, or share the yard with the people J downstairs, or be careful not to make too much noise, and there isnt a landlord banging on the ceiling with a broom. But even so, its not the house wed thought wed get. The HOlde on Mango Street S .«,~ I We -d to leave the flat on Loomis quick. The water .... .... and the landlord wouldnt fix them because • t.ouJe was too old. We had to leave fast. We were using * washroom next door and carrying water over in empty .... gallons. Thats why Mama and Papa looked for a .... and thats why we moved into the house on Mango Screet. far away, on the other side of town. They always told us that one day we would move into I. bouse, a real house that would be ours for always so we wouldnt have to move each year. And our house would have running water and pipes that worked. And inside it would have real stairs, not hallway stairs, but stairs inside like the houses on T.V. And wed have a basement and at 1caSl three washrooms so when we took a bath we wouldnt have to tell everybody. Our house would be white with trees around it, a great big yard and grass growing without a fence. This was the house Papa talked about when he held a lottery ticket and this was the house Mama dreamed up in the stories she told us before we went to bed. But the house on Mango Street is not the way they told it at all. Its small and red with tight steps in front and windows so small youd think they were holding their breath. Bricks are crumbling in places, and the front door is so swollen you have to push hard to get in. There is no front yard, only four little elms the city planted by the curb. Out back is a small garage for the car we dont own yet and a small yard that looks smaller between the two build­ ings on either side. There are stairs in our house, but theyre ordinary hallway stairs, and the house has only one washroom. Everybody has to share a bedroom-Mama and Papa, Carlos and Kiki, me and Nenny. Once when we were living on Loomis, a nun from my school passed by and saw me playing out front. The laun­ dromat downstairs had been boarded up because it had .. s-dn Ciuaeroa I \ !. ~; been robbed two days before and the owner had painted on the wood YES WERE OPEN so as not to lose business. Where do you live? she ask.ed . There, I said pointing up to the third Hoor. You live there There. I had to look to where she pointed-the third Hoor, the paint peeling, wooden bars P