essay代写：沙特阿拉伯的电影文化分析
essay代写：沙特阿拉伯的电影文化分析。有时，这种平衡和冲突会出现在场景中。文化表征是一种生产文化的手段。人们对一个地方文化的所见所闻正是人们所相信的。因此，像电影这样的文化产品被创造出来，以这样的方式来代表一个国家的文化，或者至少是呈现电影制作者所相信的这个国家的文化。在一定的创意指导下，利用电影元素来叙述一个交织在情节周围的背景文化的情节。电影制作应该是免费的审查,但是电影制作在像沙特阿拉伯这样的国家的独立需求之间的平衡电影的制片人谁想呈现一个全球视角和社会传统的电影被释放。在接下来的内容中，essay代写专家将为同学们分析下沙特阿拉伯和中东文化是如何通过电影表现出来的。
有时，这种平衡和冲突会出现在场景中。它需要看下面的图片从一个场景序列在电影。这是介绍Wadjda的场景。布景的元素发挥了作用，让人们得以一窥这片土地上相当保守的文化。
周围的环境看起来很严实。有深灰色的窗帘，有剧院的外观，但看起来不活泼。孩子们穿着灰色的衣服，他们的制服几乎接触到地面，增加了笼罩的气氛。头发是最保守的，只有一个女孩例外，这也显示了这个国家保守的价值。一些女孩在背诵古兰经，一些看起来很无聊，这是典型的学龄行为。灯光很暗，营造出的整体气氛比学校气氛更严格。其他更明亮的色彩的缺失增加了这一场景的阴谋，它提醒观众这片土地上的严格传统鼓励对年轻女孩更严格的教育。当Wadjda向另一个被逼到角落的女孩挥手时，可以看到她不停地摆弄脚趾，这一场景微妙地反映出，每个人都不满足于继续保持他们文化的阴影。
它需要考虑电影中以上的科学，它们来自两个不同的序列。电影中的一些场景看起来完全是刻板的，因为观众确实接触到了这样一个国家的文化信息:1)女人不能自我驾驶，2)中东女人裹着罩袍，她们不能在公共场合炫耀西方服饰。现在，尽管电影制作人在Wadjda也提出了同样的观点，但这不能被视为刻板印象，因为它们是沙特阿拉伯的规则和规定，确实限制女性开车。加西亚(2013年)饰演的导演海法阿·曼苏尔(Haifaa Al Mansour)是一个“不像大多数沙特女性，也不像现在的大多数沙特女性那样，把头或脸遮起来，她也不是被塑造成一个女孩。”毫无疑问，阿尔曼苏尔代表了沙特社会拒绝传统生活方式的一部分”(第34页)。根据Garcia(2013)的说法，尽管她是自由的，但导演已经开始表现传统文化的主要观念，这些观念仍然强加给女性，并被大地上的女性所遵循，除非有某种形式的无法改变的革命性挑战。因此，场景再现仍然是这个国家大多数妇女日常生活的一部分。
Sometimes, this balance and conflict find itself into a scene. It needs to look at the below pictures from a scene sequence in the movie. This is the introductory scene to Wadjda. Elements of the mise-en-scene come into play to allow a peek into the rather conservative culture of the land.
The setting looks heavily shrouded. There are dark grey curtains which give the appearance of a theatre but do not look lively. The children are dressed in grey and their uniforms almost touch the ground adding to the heavily shrouded atmosphere. The hair is most held back with one girl as an exception and it reveals the conservative value of the country as well. Some of the girls are reciting the Quran and some look bored, which is quite typical of school age behaviour. The lighting is dark, and the general mood made is however something stricter than a school atmosphere. The absence of other brighter colours adds to the intrigue of the scene, and it reminds the audience of the strict traditions governing the land that encourages stricter upbringing of young girls. When Wadjda waves to another girl who is sent to a corner and is seen fidgeting with her toes, this scene reflects the light subtly indicating that everybody is not content to continue to maintain the shadows of their culture.
It needs to consider the above sciences in the movie which are from two different sequences. Some scenes in the movie appear to be downright stereotypical, as the audience is indeed exposed to such cultural information of the land where 1) women cannot self-drive, 2) women of the middle-east are shrouded in their burka and they cannot show off western attire in public. Now although the movie maker has presented the same in Wadjda, it cannot be rejected as stereotype, because they are rules and regulations in Saudi Arabia that indeed restricts women from driving. The director Haifaa Al Mansour, as represented by Garcia (2013), is someone who “does not cover her head or face, as most Saudi women, as most Saudi women do now, nor was she made to as a girl. No doubt Al Mansour, represents a segment of Saudi society that rejected the traditional way of life” (p. 34). In spite of her freedom, according to Garcia (2013), the director has set out to represent the major notions on traditional culture that is still imposed on women and followed by women of the land, unless there is some form of a revolutionary challenge that cannot be changed. Hence, the scene representations are still a part of the daily life of most women in the country.
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