Sara Goldfarb Monologue

Throughout the extract, at the end of each characters story, the camera pulls back into a birds eye view, showing them curled up in a fetal position. This idea demonstrates that each character in their own way resembles a child. This is reflected when Tyrone C. Love (Marlon Wayans) is lying on his bed in prison. As when he is curled up in a fetal position and crying, an image of himself as a young child being cuddled by his mother appears side by side next to him as an adult, as shown in the image below. This editing enables spectators see that Tyrone, similar to his young self, is yet again vulnerable and in need of someone to care for him during his withdrawal from drugs. This side-by-side visual also allows spectators to very clearly see

We see her lying in a filthy, enclosed cell in a mental hospital. We then see Sara smile to her, as the picture below shows, in a heartbreaking way that makes the spectators pity Sara. As the camera slowly pulls back from Sara we see a slow transition into the hyperreality which massively affects her. This transition along with a sound bridge of the TV presenters voice, strongly suggests her becoming disillusioned from reality as the lines of reality and fantasy have become blurred, as demonstrated by both her reality and her fantasy appearing on the screen at once, as if they have become intertwined. This transition further shows how Sara's imagination has become her reality as she has reached her life long dream of being on television and being loved by her son, she is finally happy after so many years of sadness; however just like the drugs Sara is so defendant on, both can be gone in a second. This is why, as a spectator we feel we cannot blame Sara for willing herself to drift of into her fantasy and escape the real world. As being happy in life is what we all strive for, and whether it is real or an illusion, it is something every audience member is deeply affected and moved