Half The Sky Film Analysis

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Inspired by Nicholas Kristoff and Cheryl WaDunn’s novel, Half the Sky: Turning Oppression into Opportunity for Women Worldwide became a two-part documentary that came out in 2012. The film includes six actresses/activist, Eva Mendes, Meg Ryan, Olivia Wilde, America Ferrera, Gabrielle Union, and Diane Lane, who travel to six different countries, Somaliland, Vietnam, Sierra Leone, Kenya, Cambodia, and India to highlight the oppression of women and girls. With the help from Nicholas Kristoff, they get the opportunity to meet extraordinary women who dedicate their lives to help women and girls within their countries.

The overall theme of the documentary is women and girls oppression. However, in the specific story from Cambodia that was analyzed, …show more content…

However, she manages to rescue six girls from that brothel. Each of the ten small bedrooms in the brothel contains two nasty, worn, and stained mattresses on the floor and bloody tissue paper in the trashcans. Each door has a lock on the outside that explains why the girls could not run away from their clients. In this one scene, there are anomalies being seen left and right. The first are the pictures of the little girls on the inside of the bedroom doors. When thinking of images that help men get roused, pictures of little girls do not come to mind. Second, a woman is the co-owner of the brothel. How can any woman allow men to exploit innocent girls, knowing that they would not want their own child being in that predicament? And third, the part of the scene where the woman is taking in while the male owner is negotiating with police for his freedom. Nothing sums up this scene except for the binary characteristics of being afraid and being scared at the same time, that Somaly embodies during the …show more content…

On the way, the question was asked how does Somaly assimilate the girls. She repeats the word kids four times to emphasize how important her mission for the victims to be kids again. When they arrive, they are welcomed by waving Cambodian girls in their white shirts blue skirt school uniform with smiles on their faces and flip flops on their feet. Images of playful girls running around shows that Somaly Mam did achieve her goal to bringing life back into the girls. There is a shift halfway through the scene where Somaly goes back to talking about her experiences. Trying to distance herself from the man who deceived her as a child, she repeatedly refers to him as he. She bluntly says that she knew nothing about sex before she was forced to have it. That is an anomaly because it is traditionally thought of that the people who are sexually active have heard or been taught about sex at least once. She then goes on to express six times that when she told the brothel owners and clients “I don’t want it,” they would beat and rape her more. Switching back different scenes of the children, the binary of tears and smiles was

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