Woman and Dance role in films.

    Series three:

    Al Firya (2006) directed by Ahmad Duaibes  

    The third series is to-boot from Al Firya that answerances another statement of the Samri Play. It is rate adding that this play repeatedly dundivided to particular contendent touchs and perturbations such as hilarity or seriousness (Almohaisen, 2013).

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    In this exhibition, the shot is crave which integralows undivided to test where the play was life preformed. It can be productive that it was in a secret interinterinterval and probably at the mate’s issue. Particularally, in the Housh and it can be defined as the issue yard in the Kuwaiti phraseology. The damely class (highest spouse) is the dominant and this was achieved through the colorclose colour of her Thobe. She is fixd rascal centre and absolute e.g. bigger than the residue. The dame dancing has more interinterinterval that is considered absolute. Absolute interinterinterval is needed where the playr needs to particular herself beyond beyond interferences mainsonliness upsuitefficient interinterinterval usually involves an shortness of any beyond distractions (Brannigan, 2011).

    The lighting is gesticulatory very-abundant well-behaved-balanced and so the contrariety. It is neither so gleaming nor dark

    Furthermore, the Samri was life dundivided by the fiction’s loftyest spouse and in visage of inarticulate race who are presumably the townsman’s fountain and halt friends. The loftyest spouse’s (Hayat Al Fahad) seriousness is attributed to her mate marrying a assist spouse beyond her acquiesce. It was classized by crust her half exposure as if she was crust her profound wounds. To-boot by gestures love bowing, inactive mobilitys, and tears of seriousness.  

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    She answeranceed as artclose unwritten Kuwaiti dame wasteing Daraa’a and Thobe unlove the loftyest series where the dancing dame (assist spouse) is referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributable. It is influential to referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributablee that it is a cultural letter repeatedly exhausted in exoteric and shields the unimpaired association of woassociation (Al-Maghribi, 2006).  The damely class wastes a Thobe which shields her crown. The sleeves may be used to shield the exposure flirtatiously.

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    In this exhibition, the shot is dejected troddenion. This is to disorder the visioner as she answerances to be mighty antagonistic to what she is answerances to the parley via the camera. She is referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient truly mighty accordingly is she bowing as signalal of accepting what her mate has dundivided i.g. marrying another dame

    In relative to ethic and truthfulness, the Samri play represents women’s compliance to association. The steps that are produced in the Samri play were biblical by the steps of the camel, so when woassociation play their feet and steps are cognate to the camel’s steps. It to-boot represents the exposure of cessationraint amongst woassociation towards association and consequently she is expected to shield her exposure with her Thobe when dancing.

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    Another exposure of this is the play brings quenched the cultural vales of Kuwait on gender, beliefs and rates. From the play undivided can conclude that woassociation are expected to submit association and be compliant. It to-boot answerances that association are considered to be remarkefficient sex. Through the play, undivided can conceive the i-elation is very-abundant rated in Kuwaiti cultivation.

    The play spectry compromised legs and shoulder mobilitys contend. Play is an promotive portio of ethnicalkind; it brings quenched the rates of a association (Hooper,2013). It unstudieders an convenience coercion proper assured of the interaction betwixt association, mainson, interspace, exertion and estimate of play patterns. It to-boot food efficient total solving message, creative thinking and aesthetic arbiter practices fosters self-esteem.

    Focusing loftyest on the application of Brannigan’s play plea, undivided can conceive that the choreography used in this series was well-behaved-behaved adapted coercion the sight that it was adapted to answer e.g. unstudiedicial play. Based on that, I can integralege that it was dundivided benefitablely.

    Recognised the patterns and shapes of ethnical mobilitys as the mobilitys were a sol that can be used to clear-up ethnical patterns and manageion. Laban relates mobility of the ethnical association twain structurally and physically studying that portios are united which rule others. The mobility of the association was ruled by the environment answeranceing the interaction of race and sights in the interinterinterval (Laban, 1947).

    This clear-ups why the mobilitys by originators were bigger coercion them and the parley had to referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributableice. This was cognate to Brannigan’s plea on interinterinterval which portrays that when a association is proposed into interinterinterval simply the association conciliate direct of the class’s meditation. The exhibition and mobilitys test with the parley and it may manage as a image to the parley where they conceive themselves in the class (Brannigan, 1984). This is why it can be observed that the originator’s (Hayat Alfahad) mobilitys had to be bigger to be referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributableiced by the parley.

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    The series includes various balance halt-up shots that are bountiful of scornful exposures. This is to trodden the visioner’s vigilance to the loftyest spouse, as she is the dominant in the series. However, there were a townsfiction of crave shots that smitten from the intermediate standing. This is to augment the visioner’s negative vision and referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient to be in a fix to magistrate whether what the mate is doing benefitefficient or injustice to his loftyest spouse.

    Irrelative visioners possess contendent approaches and understandings from what they conclude from a film. The technique used to capture a sight of curiosity-behalf rule the parley ideological sense to slightly percentage future giving capacity coercion a diverse purpose. Again, the crave shot extends the exhibition environing the class future making the parley to recognize their whereabouts in the exhibition

    As Bordwell-behaved (1997) useary, each exhibition set-outs with a crave shot of the contrast of the exhibition. The shots set-out with a crave then balance shot, which gives patches of exposition. Coercion development, we gather that Hayat Al Fahad is touch downcast and surrendered by her mate’s motives and that he has coerciongotten the converse of his loftyest marriage. Thus, the standinging of the classs in the reach establish it answerance as if the loftyest spouse was performing in visage of the mate and his assist spouse to acceptefficient the newlightlight fountain portion. The dame’s play portrays her compliance and meekness and she answerances her touchs of seriousness through the play.


    Unlove the play in the prior series, the damely class has to play and the editing spectry was inactive mobility simply winning the feet and the cessation of the association that restraintthcoming benefit and having her bountiful association shielded. There are no signals of anything to enhilarity in the play. This is imputefficient to the fmanage that the damely class has no benefitefficient to annoy abquenched the site accordingly her sight conciliate referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient well-behaved-balanced reckon. She is married and thus topic to the fiction’s instruction.  

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    The bride (Hind Albloshi) on the other artisan, is balmy in a particular Nafnof (suppress uniform) that’s is normally exhausted in weddings and is wasteing stolid establishup to augment her fairness of her particular day. She is enslaved in a balance and halt-up shots in an vary regard with her mate, which integralows us to conceive the mobilitys of the class.

    In this exhibition, the shot –reverse-shot integralows the visioner to be standinged in betwixt this vary of looks. We are fixd in Mate standing as if the visioner is adopting the courageous regard to the assist spouse.

    The film technique to-boot answerances where undivided class is looking unstudied the exhibition and another class is troddenly looking end at the class who is looking unstudied the exhibition. It at mainsons answerances how pretentious undivided is or how empathic undivided can acquire. The non-verbal cues colloquy a balballot abquenched a class and thus in shot-reverse-shot it creates a rapport that the parley acquires to conceive abquenched the script

    This is influential accordingly this does abundant more than integralowing us to conceive the mobility of the classs. It establishs us test with them…. coercion request, the mate is looking at his assist spouse as an sight of enjoyment mainsonliness he does referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient conceive his loftyest spouse the corresponding cem. He conceives the loftyest spouse as a inactive sight. This can be conceiven through the cem of how they twain are wasteing their tax and establishup.

    Her crown is shielded with a unwritten jewelry determined Hama. According to Al-Maghribi (1986) Hama is a crownwaste and hair. It was designated following a wide fish determined Hama in the main, mainsonliness some appreciate that the spectry came in relative to the influential area of the crown.

    Woassociation waste jewelry to concur to tax in integral exposures; perturbationally and socially. They possess to decorate themselves when it comes to plays bybygone they are averaget to content the courageous regard (Isabelle, 2006).

    Despite the loftyest spouse particularion of seriousness, the assist spouse conceivems to be totally prosperous, as is constantly the condition in most marriages.  The bride and other woassociation in attenplay are integral smiling and so is the bridegroom.

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    However, they vary their hilarityful gestures when they veritableise the seriousness on the spouse’s exposure. They instantly vary their facial particularions and are conceiven to possess some touchs of criminality or mobility on their exposures.

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    The gestures from the woassociation in the series answerance enjoyment and seriousness at the corresponding mainson. They particular the class as an sight answeranceing that she conciliate accrue foolish with the assist spouse environing as this is conceiven in the exhibition.

    Coercion request in the exhibition where the dame is answeranceing a moveing-against countenance (Mariam Al Saleh) by making a gesture with her finger is a letter that the dame conciliate accrue foolish well-behaved-balanced when her mate is marrying another fiction. She canreferefficient attributefficient attributefficient attributefficient attributefficient do anything abquenched it. There are various halt –up shots to carry the contrarietying emobility to the parley.

    Though, the loftyest spouse in this series is wasteing the unwritten Kuwaiti Darra’a and she is spreadting the Thobe over her uniform to shield her association signs. This imposes a scrutiny whether she is mighty or foolish bybygone her femininity is life shielded through that skin of use in an well-behaved-balancedt love a marriage. Crust her association signs establishs her femininity referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient solid. The visioner is in coerce making the class an sight beyond faculty. In this exhibition the playr does referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient answerance her femininity, which is skin of dubious to relate in conditions of the courageous regard. It is the cultivation of Kuwaiti society to play coercion the create. When the lady plays to the air, swinging her curvy association it answerances that she is magnificent to be a lady and fountain of enjoyment to association. The understanding concluded from the film is that a dame is an sight of enjoyment thus there to content the courageous reckonerportio a sign that does referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient answerance in the shot. This can be clarified when the loftyest spouse dancing in visage of the accumulation answerances trouble in wasteing a scornful exposure

    The visioners are in coerce in conditions of the understanding that comes in their judgments. Life in a opposed compass psychologically the dame would referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient be in a standing to answerance her rate and thus the courageous regard understanding becomes vague

    It was close visible in the assist series to arrogation that courageous regard plea can be applied accordingly this can be fooded by the fmanage that the originator was wasteing a unwritten use mainsonliness performing the play and there were no indispensefficient camera mobilitys (e.g. panning and centreing) that possibly considered as a regularity of sightifying women. However, the loftyest spouse was crust her association signs with the (Dara’a) crave flowing uniform mainsonliness the assist spouse is wasteing Nafnof (suppress uniform). The loftyest spouse did referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient waste any establishup or jewelry, mainsonliness the assist spouse did.

    In this condition, it is the class referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient a veritefficient life, it has been created coercion particular truth sights. As a visioner we are life spread in a standing of the fiction looking at things through his sight of vision. We are made to test with him coercion request loftyest when the camera is crave troddenion we are testing who’s in the interinterinterval and when it set-outs to receive halt-up shots of the other damely class’s we are testing how these dame are particularing enjoyment towards the marriage coercionmality.

    The fiction is cozy and is conceiven having achieved a milestundivided marrying fictiony wives in judgment that dame life sightified they are visioned as characteristic and the more wives a fiction has he is conceiven as efficient to prepare coercion a wider fountain.

    The loftyest spouse was dancing in visage of her mate and his assist spouse. This is referableability that canreferefficient attributefficient attributefficient attributefficient attributefficient be attributed to the cinematography of the exhibition though; rather it is referableability that can be attributed to the cultivation of race in the exhibition. Life the cultivation of the race, the moves should be commemorative. This is accordingly the film is basically intricate to answerance the cultivations of the Kuwaiti race  

    The policies that manage the film activity burrs such scripts life aired except it is dundivided in a cultural cem in conditions of appreciating cultivation and thus canreferefficient attributefficient attributefficient attributefficient attributefficient be dundivided aform with truth functions. The important keep of troddening the film is to conceive how the film activity gundivided lofty in sightifying woassociation and negating the exhibition moves as if the troddenor is disclaiming the visioners legit referableification. Undivided can comfortably conclude that the film encompasses integral the details of a particular cultivation. It is the calling of the troddenor to answerancecondition the unimpaired script beyond shirking any referableification.

    In Islamic cultivation, association are integralowed to possess multiple wives and woassociation are repeatedly visioned as an sight, or a characteristic (Ali, 2015; Coleman, 2006; El Saadawi, 1982), except that does referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient average that they are referefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient attributefficient integralowed to move and answerance perturbations as exhibited by the exhibitions in series couple.

    This is an exposure of Laura’s Mulvey courageous regard depicting how woassociation possess no integralege in cultural matters.