Early bird , analisi della prima parte dell'episodio numero uno di Giorgia Serena .
Early bird is a Turkish film divided into episodes with English subtitles.
In the following text I will deal with the analysis of the characters and the events of the first part of the first episode.
To produce a better analysis, after listening to the various scenes several times and carefully reading the subtitles, I focused on the choices that the director made to characterize the various characters, through their thoughts, dreams and habits.
I then proceed to the analysis.
The director presents the start of the day.
San leaves home and is radiant, he immediately begins to dance together with many other boys, who, accompanied by cheerful music, fill the street of the town.
Later, however, the girl is brought back to reality: she is no longer dressed in a colorful dress but with a shirt and jeans, and is no longer smiling as before. The director therefore wants to present San as an energetic and positive girl but suffocated by the reality that surrounds her.
In the second scene the girl begins to work listlessly, she seems much more taken by fantasizing about her future.
In fact, through his diary he tells of his two dreams: to become a great writer and go to live in the Galapagos.
To focus the attention on the main aspects of the story, the director increases the speed of superfluous scenes, while it slows down the recovery in the most important ones.
In this case it is faster when the girl sells products from the store while she lingers and describes the scene in detail when she tells her dreams.
In the third and last scene we saw at school, the director presents another important character, Musaffer, who mistakenly calls Zeberdijet.
The director makes us understand from two elements that the presence of the boy is unwelcome to San: the first is the facial expression that the girl has as soon as she sees him, at first she is frightened then annoyed; the second is that he cripples his name, although he continues to correct it.
Finally, the director wants to present Musaffer as a ridiculous and egocentric person.
In the scene in which he is presented to the spectators he immediately gives a negative and unpleasant connotation, as he puts himself in an almost aggressive way towards San, a fact also emphasized by his movements.