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The long shot of the classroom allows us to see the classroom. Within the mass of white shirts, we see Karo’s costume of the red shirt. The red clearly stands out compared to the white, signifying Karo’s act of rebellion within Wenger’s newly-created autocratic regime. Karo’s switch of role from the popular girl to the outsider here is further exaggerated through the colour red, which not only represents rebellion, but also illicit’s the other students’ anger towards her due to the fact she is not following the norms created by ‘The Wave’ movement.

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The filmmaker has used a wide shot to capture Billy’s extended family.

The majority of Billy’s family, and particularly the older members, are dressed quite formally in suits jackets. In comparison Billy is wearing a t shirt.

Billy’s more casual approach sets her apart from her family and especially the older members as she is culturally westernised and less engaged in family traditions. This is why she struggles with ‘the lie.’

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A wide shot of a group of young people, three of them staring directly at the camera. The wide shot allows the audience to see what is clearly a deprived area.

The framing of the shot implies that the group are threatening and could be seen as a gang. Having one character look in a different direction suggests there has been conflict within the group.

This focuses on the representation of young people, particularly groups of them, as a threat or possible danger.

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In this medium close up of Miriam and the baby, Miriam's costume has earthly colours of oranges and browns. This reflects that Miriam is a motherly figure in the film and not one to be objectified. The bedframe in the background of the shot forms wing-like shapes behind Miriam suggesting that she is an angel sent down to help Tsotsi. This shows that women in the film of Tsotsi are portrayed as strong/ not passive characters.

Miriams headscarf is that of a married woman symbolising that she is still grieving the death of her husband. Despite being a prisoner to Tsotsi and being forced to breastfeed the baby, she is positioned as higher than him in the scene showing that she has the real power.

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The mid shot allows us to see the deprivation and squalor of the shack allowing the audience to see the poverty in which he lives. The low level lighting, and the contrast of this with the spotlight effect on the protagonist’s face, draw audience attention both to the dingy nature of the setting and to the representation of Tsotsi as troubled by what he has done and the possible consequences and recriminations of this act, particularly since he is a young black man.

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At the end of Slumdog Millionaire, Jamal finds himself extremely far from the boy he used to be in the slums of Mumbai. This performance of Jamal winning the game show communicates to the spectator how shocked he is to find himself in this situation. The prop of the gold confetti raining down around Jamal further emphasizes how he is the golden boy from the slums, breaking the stereotypes of boys like himself growing up on poverty.

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Here there is a wide angle MLS with the two characters in the foreground. Their position in the foregriuns highlights their importance in the scene. The two characters share the composition and it reflects the precarious balance of power in the scene.

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Mis en scene is used to show Tsotsi’s character. The props are key- the use of the dustbin lid as a shield shows that he is using what he finds to get by but he spends most of his time trying to defend himself and keep others away. His gun shows that if needed, he will resort to violence but that the gun isn’t pointed shows it is in reserve and not his first action. If he can’t defend himself he will attack others. Much like the bar fight it shows that young males in this part of SA are keen to keep others away and use violence to protect themselves rather than to attack others.

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The cinematography and blocking/mise en scene of the frame creates a sense of alignment with Billi. The center framing of this two shot cements her as the protagonist and emphasises the burden of keeping the lie from Nai Nai.

As a young person, we'd expect Billi to be stereotypically selfish and naive. However, the key elements her subverts this. The blocking of Billi facing the camera and Nai Nai facing away is symbolic of her knowledge of the secret, combined with her facial expression all connoting the burden of her keeping the secret.

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This close up allows us to see that the character is looking intently at something that is clearly important. As a result of the director using this shot the audience can see that she is represented…..blah blah…just checking I can use padlet.

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The use of a 2-shot gives the spectator an insight into the closeness of the relationship and the turmoil of the main character.

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Shallow focus is used in this shot to place emphasis on the main character. He’s placed off centre, giving the frame an unbalanced feel and perhaps making the audience feel disoriented. The contrast between the primary colours in the background and the costume of the main character represents him as ambiguous.

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The wide shot captures Nai Nai’s reaction while maintaining the audience’s perspective of the family dynamics and environment. This use of cinematography establishes her central position within the group, both literally and symbolically, as it positions her at the focal point of the frame. The wide shot also ensures the presence of the extended family, reinforcing Nai Nai’s connection to them and her role as the matriarch. Through this visual technique, Nai Nai is represented as a figure of authority and emotional grounding within the family. Her reaction, paired with the framing, highlights her influence and the respect she commands, solidifying her as the central pillar of the family dynamic.