Etiquette Letters Of Introduction For A Young Lady Essay Example

of intense emotions in the film was achieved through the use of close-up shots and music. A clear illustration is when Irene discloses her leukemia diagnosis with the line "No. Leukaemia." The camera provides a physically proximate shot, enabling the audience to be fully engaged in the scene without any disturbances, thus establishing an emotional connection between them and Irene's character. Moreover, Bennett employs music to intensify emotions at every scene's end.

The character's emotions were matched by both the music's instrument and style. For instance, when feeling sad or anxious, the violins were deliberately, softly and slowly plucked with an absence of a particular structure. Likewise, when experiencing happiness, a similar melody was played again by the same instruments this time at a faster tempo with bowing instead of plucking. Irene ended the performance on a joyous note saying, 'happy'.

With considerable emphasis, she conveyed her feelings about the enhanced, natural structure of the music that included the violins and flute. This musical arrangement helped the audience to form a mental image of the character's concluding joyful words. Bennett incorporated numerous subtle hints in the play, allowing the viewer to piece together the story independently.

In the fourth sequence, Irene comments on the privet while looking out of the window, revealing to the audience her self-serving nature. This moment also hints at her boredom, as she has nothing else to do but observe the outside world. Furthermore, another incident occurs at the beginning of the fifth sequence.

Initially, the audience observes Irene adorned with a coat and hat without comprehending the reason why. It's not until later that they realise a policeman had instructed her to wear them,

indicating that she wasn't out for a casual stroll but rather heading to the police station. The audience begins to suspect child abuse when they discover that Irene had written to the police about a child across her street. Interestingly, while in custody, Irene's demeanor changes, and she becomes more comfortable using profanity, closely revealing the degree of her transformation to the observer.

By dropping hints, Bennett effectively conveyed changes to the audience. He used Irene's clothing and the setting of the room to create different atmospheres and express character liking. In the beginning, Irene's attire was drab and the room was dreary, yet Irene seemed content in her surroundings, suggesting a dull and monotonous character. Despite this, the audience remained intrigued by Irene and the play.

Over the course of four scenes, Irene's attire shifted from brown to bottle green and ultimately grey, conveying her lack of modernity. Bennett effectively communicated this through wardrobe changes. The dull scene suddenly transformed into a vibrant one as Irene's outfits evolved from plain skirts with jackets or cardigans to more casual wear like T-shirts and trousers. Despite being in prison, Irene's demeanor appeared more carefree. This transformation was likely the most impactful for viewers.

Bennett utilizes Irene's acting, clothing, and surroundings to reveal her character traits. An instance of this is when Irene remarks, 'She can't be more than twenty and by the look of her she's expecting another', alongside a disapproving expression during the second sequence. The audience infers that not only is Irene knowledgeable about her neighbors' history, but also keenly observes and opposes any alterations made. If discussing a topic unrelated to her street, Irene maintains

prolonged eye contact with the camera before occasionally demonstrating emotions through glaring or rolling her eyes. In contrast, when a subject involving her street emerges, and the audience is unaware, she gazes out of the window.

This would interrupt the audience's personal connection with Irene, who previously made eye contact with them. Allowing the window to be a distraction, Irene appeared bored and desperate while waiting for her paper in the second scene. The audience notices that the paper was Irene's sole connection to the outside world, as she had nothing else to do in the house. She conveyed that receiving her newspaper was the highlight of her day and expressed an interest in writing letters disapproving of certain articles. During her imprisonment, Irene's actions showed a significant change, as she exhibited a burst of energy and radiance.

The actress was highly emotive with her eyes during close-ups, conveying various emotions to the audience. Bennett utilized vocal tones and pauses to accentuate the character's emotions, such as the pause in Irene's voice when she says, "No. Leukaemia."

The audience is able to comprehend that Irene has a natural inclination towards depression, and her momentary silence after stating this enhances the impact on the audience. This is in contrast with the cheerful scene in prison where Irene speaks with her typical lively and contented voice thus, assuring the audience of her happiness with her current situation. Throughout the play, the character's tone of voice has a significant effect on the audience. All of these aspects are crucial in Bennett's effort to effectively convey subtle hints to the audience.