The sub-sequence starts with the perceiving of the girl that wore a red coat. Oskar’s apathy towards the mistreatment of the humanity all around him in his quest for success and money, this sequence witnesses the liquidation of the Jewish ghetto by Oskar and his mistress the previous sequences tell of Oskar’s detachment and anger at the sight of him being exposed to the Jewish workers and their pathetic plight. Sequence 42 remarks a turning point for Oskar. This sequence begins his program as a savior. It is from this point, in the entire film, where the variation of the real events takes a new and desperate tone. Sequence 42, the final sequence of this series, shows the brutality by the SS to their desperate victims. It escalates to the introduction of the girl in a red coat who now becomes an exclusive entity in the whole film. Shot Breakdown This subsequence, called the Outside of Ghetto, begins after Oskar caught sight of R as she threaded her way through some unspeakable atrocities while she makes her way to the hiding stop finds, in the ghetto. Oskar tracks her and follows her as she made her way around some certain death situations. This sequence concludes when R finally made her way through violence and the crowd (Keneally and Nancy 30). Shot (1) 6 seconds: The camera located at a high angle is from Oskar’s horseback, which is on top of a hill. This distance and angle are to bring out the feeling of the vast distance and the helplessness. Left at the center frame is R, who transverses along the street on a straight line; the street itself is in a diagonal form. R moves from the bottom left end of the frame, and a building framed in the foreground obstructs her. She moves to the next obstruction that is in the other foreground building, which is on the right side of the screen (Zaillian and Thomas 15). She boxes her tiny body in a V shape effectively; this brings out the appearance of a building facade that is running parallel to the street. People fling to the walls by the SS and lineup on the wall at the SS, through suitcases carelessly on the street as cars pass. This shot has a medium gray scale and has an accompanying wet ground that brings out the overcast nature of the day. The background music is slow and is a procession of a choral children’s song that lends a trudging and forlorn quality to the tiny march (Zaillian and Thomas 18). Shot (2) eight seconds: The camera’s angle is a low angle of Oskar that forms a vector of his gaze; this should give the effect of showing how high he is above the sequence. The angle frames the character up against the sky and the gray scale used to give a contrast of the different worlds involved. The trees on the background are bare, and the sky is overcast. This informs the spectator that the day is not only wet but also cold, as well. Oskar has an intense look on his face. This happens when he struggles to get his mount into a strong position that will enable him to see R. The children’s chorus still heard, in the background, and there is the sound of the hooves and the neighing of the horses, but not above the sound of music. The sounds of the fracas can still be heard to provide some continuity among the shots (Keneally and Nancy 36). Shot (3) 21 sec: ELS is tracking R, while making her way right and left through trees, running soldiers, and G’
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