We were tasked to analyse the “Manka Sequence” from Sisters in Law (Kim Longinotto, 2005). Throughout the sequence, Longinotto once again employs the key elements in a variety of naturalistic and unobtrusive ways.
Once again making apt use of her handheld camera, Longinotto continues to employ panning between each of the subjects depicted – in this case being Manka, Stephen and Vera. Each sound heard throughout the sequence is both diegetic and recorded on location. As Stephen proceeds to detail the brutality of Manka’s wounds, Longinotto zooms into the young girl. Through this, a closeup is created which exhibits the scars and wounds Manka possesses as a result of her aunt’s abusive behaviour. A high angle shot is then implemented – looking down onto Manka. This subtle example of camera manipulation instills empathy within the viewer and is further accentuated when Manka looks up towards the camera.
As the camera zooms out, Manka and Stephen are framed in a two-shot which portrays a significant difference in figure between the two. Manka’s frailty and destitution is reinforced through the use of this carefully constructed frame. Longinotto then utilises another example of temporal editing, in order to smoothly transition the footage to the following day which appropriately compresses the events presented.
During the next day, the aunt, Stephen and Manka a framed together in a single three-shot. We cut between this and a mid-closeup of Vera, captured by the second camera. Through this use of editing, the separation between the two sides of the law are subtly established. In addition, the three-shot allows the viewer to take notice of Stephen’s paternal-like protection of Manka as well as the aunt’s frantic attempts to justify herself. In addition, Stephen occasionally glances into the camera which demonstrates his awareness of the situation and reinforces his protective nature. During the confrontation, the camera occasionally focuses on the reaction of the subject being spoken to. Through this reactionary shot equivalent, the viewer is able to soak in each of the subject’s live reactions to the events that occur.
During the aunt’s panic-stricken rebuttal, Longinotto utilises a closeup on her face. Through this, it becomes clear to the viewer that the aunt is playing up to the camera. Her exaggerated crocodile tears and frantic justifications purports a sense of vulnerability, but the viewer is likely able to see through this due to Longinotto’s intelligent camerawork. She attempts to hide nothing from the viewer and merely display an accurate portrayal of events, despite the aunt’s superficial emotions. This is further reinforced when we return to the three-shot, during which Manka’s stoic reaction to her aunt’s utterly distraught rationalisation for her abusive actions. This shot further displays Manka as an innocent and vulnerable victim.
Otis Morley’s A-Level Film Studies Blog 