Born Into Brothels Rhetorical Analysis
Rhetorical Analysis of Born into Brothels
In Calcutta's red light district, several children are trying to get by in brothels. Their mothers are prostitutes and their fathers are gone, unreliable or unknown. Zana Briski journeys to Calcutta to photograph the lives of the prostitutes, and she ends up teaching their children about cameras and photography. Briski finds that the kids have true potential, not only in their photography but in their lives. She tries as hard as she can to find better futures for them. Born into Brothels tells this story. The film uses contrast, appeals to pathos and use of visuals to convey the tragedy of the children's every day, and also the hope for their future to those who have no idea about their situation.
Born into Brothels is fast-paced. It goes from scenes of the kids running around photographing the shore of a beach, to shots of their mothers swearing heavily at each other. There are busy, chaotic street scenes where you can see the kids smiling and laughing, and then the next minute the viewer sees the dirty, grimy interior of their homes. Between these scenes, there are really no transitions. The contrast is striking. The film makers use this to their advantage to define what life is really like for the children. They go out to take pictures with "Zana Auntie", and the next minute they are back in the brothels serving their parents. There is no sweet transition for them, no musical que, no narration to prepare them. The contrast used in the movie models the contrast of their lives. With the use of this technique, the film makers maximize the enormity of both the chance the children have to get out and photograph, and the state of the place they call home. The contrast in Born into Brothels sheds light on the common juxtaposition of opportunity and helplessness in the children's lives.
While it is clear that the film makers use contrast to display the equal contrast of the children's lives, sometimes the effect can be
In Calcutta's red light district, several children are trying to get by in brothels. Their mothers are prostitutes and their fathers are gone, unreliable or unknown. Zana Briski journeys to Calcutta to photograph the lives of the prostitutes, and she ends up teaching their children about cameras and photography. Briski finds that the kids have true potential, not only in their photography but in their lives. She tries as hard as she can to find better futures for them. Born into Brothels tells this story. The film uses contrast, appeals to pathos and use of visuals to convey the tragedy of the children's every day, and also the hope for their future to those who have no idea about their situation.
Born into Brothels is fast-paced. It goes from scenes of the kids running around photographing the shore of a beach, to shots of their mothers swearing heavily at each other. There are busy, chaotic street scenes where you can see the kids smiling and laughing, and then the next minute the viewer sees the dirty, grimy interior of their homes. Between these scenes, there are really no transitions. The contrast is striking. The film makers use this to their advantage to define what life is really like for the children. They go out to take pictures with "Zana Auntie", and the next minute they are back in the brothels serving their parents. There is no sweet transition for them, no musical que, no narration to prepare them. The contrast used in the movie models the contrast of their lives. With the use of this technique, the film makers maximize the enormity of both the chance the children have to get out and photograph, and the state of the place they call home. The contrast in Born into Brothels sheds light on the common juxtaposition of opportunity and helplessness in the children's lives.
While it is clear that the film makers use contrast to display the equal contrast of the children's lives, sometimes the effect can be