Dance English 30s
0.01
We see two pairs of feet on what is a wooden floor. The dark floor is cleaned and is likely lectured due to the flat effect on the wood, the individual planks are visible. The wooden floor has what seems to be a wooden chair resting on its boards with a lighter tone than the planks in the background blurred out to not take away the significance of the feet. Socks accompany the feet, the feet on the left side have lime green socks and are smaller than the feet on the right side which are adorned with peach pink socks. The size of the feet and the differences in style hint at a significant age difference; the lime green socks are simple ” booties” style which young children tend to wear and the peach-pink pair has divots creating a pattern. The feet are of course accompanied by legs which are equipped with pants. The lime green sock wearer has light blue jeans not fully stretched out to fit the form of the wearer. The pink socks have dark-loose-fitting pant that screams sweatpants. The color choice for the socks makes them stand out in contrast to the dark dullness of the floorboards and the background putting the attention on their movements.
As the Camera quick cuts, we see the figures to which the socks belong. The lime socks belong to a young girl with straight black hair wearing a yellow shirt contrasting with her blue pants. the pink socks belong to an older woman with grey curly hair signaling further her age. She wears muted colors the grey sweatpants paired with a basic white shirt make her feel less lively than her younger counterpart. The relationship between the two is one of a grandma and her grandchild. They are in motion conducting a type of dance as they almost simultaneously twist and turn with glee on their faces. The background now has more color with assorted bowls on and on a table, a light blue kitchen sink further in the background holding more items on top of it, and between the pair of women two blue cups that are pair were likely drinking from. Even further in the foreground a window gives the scene more light. This change from the initial frame makes the grandmother look even more out of place the healthy application of bright colors gives attention to the colorless individual making her out to be out of place in this setting.
0.02
The initial scene blurs to draw attention to a new arrival to the scene. We see a figure about to walk to the kitchen area they wear a purple top and classic blue jeans. The purple can be seen as a linking point between the bright colors of the children and muted colors of the grandmother clueing in to the fact that the figure about to appear is either a older sister or the mother of the child.
0.03
The pair of child and grandmother come back into the frame as we see a front-facing shot of them doing another silly dance in front of a phone camera. We get a better look at the pair as we see the child has braces and wears several bracelets on her wrist. The older woman in purple is still in the process of coming to the room her approach is obscured by the lack of light in the room she coming from, though we do not have full details of her expression she seems to have a look of concern on her face as she enters the scene.
0.05
A bright smile is painted on the girls face as she turns to face what we can only assume is her grandmother. This is a closeup shot of the girls face used to show how happy she is to be with her grandmother
0.06
We now get a closeup shot of the grandmother the screen is under a motion blur effect to show movement she also seems to be filled with joy participating in an activity with their grandchild and we now have a better at her face in the process. Deep lines pepper the older woman’s face showing off her age further.
0.07
The pair notice the women in purple come in. The grandmother puts on a silly face to delight of the child, the routine continues without any loss of momentum turning their back on the women in purple.
0.08
We get a closeup shot of the back of the grandmother’s head as well as a quarter of her body. The director puts more enthesis on the grandmother because she the subject of the video, combined with the muted colors of her clothing and her older complexation she stands out the most.
0.09
The scene cuts to a face shot of the woman’s purple reaction to the dance giving us a proper look at them. She has noticeable lines on her face but not to the point of being in the same ball park of age as the grandmother pointing her to be more middle-aged than anything. Slightly faded green lipstick can be seen on her slips accompanied by subtle dark circles under her eyes and frazzled hair. The mess of hair and the dark eyelids gives the idea of a women that is very tired and maybe even crying? She closes her eyes and her smile deepens.
0.10
We are now greeted by a new scene where the girl and the grandmother are in frame, the scene is bathed in faint light produced from lights on the ceiling of the room. The sides of the room are filled with books and a single picture frame on the righthand side that its contents cannot be seen hundred percent due to the lighting or lack thereof but if looked at carefully a hint of a family portrait can be seen in frame. a wooden lacquered table in front with a companionship of wooden chairs, on the table the makings of a breakfast or a brunch can be seen displayed. A glass pitcher of orange juice is present with three quarters of its contents gone to the right, a basket of toast facing closest to the girl and a stack of waffles being gently put down by the grandmother are main sources of sustenance seen. Three glasses of orange juice one presumably for each of the people we’ve seen so far all with varying degrees of full.
The girl is in the center of the shot giving her the center stage, she is sitting on a chair looking pleased as she glances at her phone most likely looking at the video she and her grandmother took earlier in the day.
0.12
The grandmother glances at the empty chair with the glass of orange juice in front of it, she looks concerned perhaps her daughter is late or maybe not coming at all?
0.17
The grandmother looks to be lost in thought maybe shes upset that he daughter isnt showing up. The director again gives more attention to the older women giving more credence that the short video is about her
0.18
We get a quick cut to the grandmother turning her head perhaps to greet the mother entering the stage? The grandmother looks bewildered her mouth is hanging open with her eyes tracking movement but at the same time looking glazed over like she doesn’t understand what/who she’s seeing. She blinks for a moment with a confused look still plastered on her face. The director does this to show some issue the grandmother is facing
0.20
The camera cuts to the Mother in the purple sweater starting to sit in the chair. The dark circles around her eyes are now gone and her hair stands a little neater hinting that she washed up before the meal. She also now dawns a gold earing in her right ear. She is smiling greeting the grandmother.
0.21
The mother finishes sitting down momentarily glancing down which we can infer is the glass of orange juice looks at the grandmother again. The shot focuses on the mothers movements mirror the focus on the grandmothers shot giving a subtle connection to them.
0.22
As the shot is still focuses on the mother she starts to learn froward slightly. The smile is gone now replaced by a sour expression on her lips, her eyes are now wide as if in concern when she is staring at the grandmother as if she is notices somethings wrong with her.
0.23
We are now back in the center shot we started the new scene with, both the younger daughter and the mother are now focused on the grandmothers actions. The young daughters face no longer focused on her phone face is straight lazer-focused on the grandmother. The daughter is not making any movements and stares at the grandmother with the same expression but now in side profile. The grandmother opens a basket smiling as if nothings wrong looking at the daughter and smiling. The daughter and the mother share a knowing glance at each other before the scene transitions.
0.25
The scene transitions to the grandmother sitting on a badge couch having a conversation with the mother who is sitting on a badge chair close to each other. Picture frames sit on a wall that divides two rooms behind the couch the grandmother is sitting on, a lit lamb and drawn light orange curtains provide light for the room. We see the scene from outside the living room like someone looking in on a conversation they’re not a part of maybe the daughter? A white lined oval with the phrase ” disorientation”. It is most likely a symptom of the disease the grandmother was suffering from in the scene before we can even say it is the symptom she was displaying during that scene as well
0.26
The white-lined oval now has the text ” visual confusion” in as the old text swaps out. The grandmother nods her head as if to say she has the symptom the box is displaying.
0.27
” Social withdrawal” now enters the box as the old symptom phases out. Above the oval appears the text ” learn the warning signs of Alzheimer’s” revealing the purpose of the ad and on the bottom the Alzheimer’s association logo can be seen as well as the Ad council symbol.
0.28
The oval now contains ” Memory loss” and then ” 10 signs.org” which we can infer where we can learn about the signs for Alzheimer’s. The Camera now centers around the mother taking clasped hands of grandmother holding tight.
0.30
The camera slow pans to a final shot of the grandmother with her lips in a tight frown with her brow furrowed and eyes looking at the mother.
Counterintuitive Fall 2024 
Hi, I would like feedback on how I described illustrated emotions in this assignment. I feel like I repeated myself a lot and I had some trouble describing subtle changes in attitude with the actors.
I would have responded long ago if you had put this into the Feedback Please category, Anonymous. I’ll do it now. It hasn’t been graded. That’s the only reason I came here looking. You can revision for a Regrade, but DON’T FORGET to put it into the Regrade Please category if you make substantial improvements.
I’ve never seen this video, so I’ll react to what you say WHILE I WATCH THE VIDEO FOR THE FIRST TIME, second by second, or even frame by frame, as fast or as slowly as you take me through it.
0:00
We see two pairs of feet on what is a wooden floor.
—I don’t.
—I see one pair of feet in socks on a wooden floor.
The dark floor is cleaned and is likely lectured due to the flat effect on the wood, the individual planks are visible.
—I know the word lectured, but not in this context.
The wooden floor has what seems to be a wooden chair resting on its boards with a lighter tone than the planks in the background blurred out to not take away the significance of the feet.
—I sort of see what you mean, but I don’t quite see it.
—I’m still in the first frame, so I’m looking at a pair of feet in front of what looks to me like the bottom of a table frame.
—The camera is giving me a “worm’s-eye” view. My point of view is “from the floor.”
—I think what you’re saying about the lighter tone is that the CAMERA FOCUS in on the feet. The background is blurred because it’s out of focus.
—And you’re right: that forces us to concentrate on the feet, not on the background.
Socks accompany the feet, the feet on the left side have lime green socks and are smaller than the feet on the right side which are adorned with peach pink socks.
—I will advance the frame to find the second pair of feet.
—But before I find them, I see the feet are dancing.
—The heel of the right foot comes up off the floor while the left foot pivots on its heel and the person who must be attached to these feet has executed a spin to the left.
—Good thing that floor looks new or sanded well in good repair; otherwise, I’d be worried that the dancer will pull a splinter from the wooden planks.
—By the time I see the second set of feet (actually just the right foot of a second pair of feet), it’s clear the “other” pair are executing the same dance step as the first.
—So, presumably, two people are dancing in synchronicity.
—I agree the foot of the right pair is larger than the left pair, so we have people of different ages dancing together, or at least different sizes.
The size of the feet and the differences in style hint at a significant age difference; the lime green socks are simple ”booties” style which young children tend to wear and the peach-pink pair has divots creating a pattern.
—Very nice. We really do draw this conclusion while watching. You’re combining Visual and Rhetoric here, which precisely fulfills the assignment.
—Is there ANY CHANCE we draw a preliminary conclusion from the age difference?
—Any hints of gender?
—If you had to say so, is this two brothers, a mother and daughter, an employer and a new hire?
—Which would surprise you more?
—The one that surprises you least is the one the filmmakers want you to believe.
The feet are of course accompanied by legs which are equipped with pants. The lime green sock wearer has light blue jeans not fully stretched out to fit the form of the wearer. The pink socks have dark, loose-fitting pant that screams sweatpants.
—Maybe there’s significance here. I have no idea.
—But what does “not fully stretched out to fit the form of the wearer” mean?
The color choice for the socks makes them stand out in contrast to the dark dullness of the floorboards and the background putting the attention on their movements.
—You’re saying the FILMMAKER chose the socks, right?
—The costumer tried out some socks to see which ones would draw the eye and settled on this color for its eye-catching feature?
As the Camera quick cuts, we see the figures to which the socks belong.
—Now we pull back to a long shot.
—”A long shot is in some ways the opposite of a close-up. It shows the character’s entire body in frame, from their head to their toes.”
The lime socks belong to a young girl with straight black hair wearing a yellow shirt contrasting with her blue pants.
—Cool. We don’t need her shirt color, but maybe you’ll refer to it again. It doesn’t hurt.
The pink socks belong to an older woman with grey curly hair signaling further her age. She wears muted colors the grey sweatpants paired with a basic white shirt make her feel less lively than her younger counterpart.
—There you go. You redeemed the color comment by indicating that it signals personality. Nicely done.
The relationship between the two is one of a grandma and her grandchild.
—You might have to say that the age difference is too great to be conceivably mother and daughter.
—And it might be necessary to divulge what it is about the “grandmother” that gives her age away.
—Is it her sweatpants? Her posture? Her flexibility or lack thereof?
They are in motion conducting a type of dance as they almost simultaneously twist and turn with glee on their faces.
—You haven’t told us yet whether in the first frames we’re looking at heels or toes.
—So now that we see them full frame, we don’t know whether we’re seeing faces or fannies.
—Was it the “grandmother’s” face that gave her age away?
—Do the dance moves involve the dancers spinning to face us? Away from us? Both?
The background now has more color with assorted bowls on and on a table, a light blue kitchen sink further in the background holding more items on top of it, and between the pair of women two blue cups that are pair were likely drinking from.
—I’m surprised you haven’t mentioned that in the full frame shot, we pull all the way back into another room than the ladies are dancing in.
—For me this indicates “we” are watching them from a distance. Maybe even spying on them, sort of.
—They may or may not know they’re being observed, but if I had to guess, I’d say they don’t know.
—Will they be OK with that?
—Are they “dancing like nobody’s watching”?
—Are they so absorbed that they wouldn’t even notice us?
Even further in the foreground a window gives the scene more light.
—I wouldn’t know what to make of this if I were not looking at the video.
—Since I am, I want to correct you that the window is farther in the background, not the foreground.
—The ladies are framed against the window.
—The whole scene is framed by the doorframe between the room they’re in and the room “we” are “in.”
This change from the initial frame makes the grandmother look even more out of place
—I don’t remember you saying she was out of place.
—Maybe you just mean she’s very different from the girl.
The healthy application of bright colors gives attention to the colorless individual making her out to be out of place in this setting.
—Got it.
—You’re suggesting that she’s not the sort of person you’d expect to be gleefully dancing in the kitchen.
That’s as far as I need to go for the moment, Anonymous, to give you an indication of what a thorough analysis looks like. I’d say you’re doing a beautiful job so far.
I do want to mention that the “new arrival” shows up before the 0:02 mark, so I started to see the image to the right of the screen before you did, or we’re keeping time differently.
Now I’ll try to answer your specific questions. I’ll probably have to watch the entire video to be much help.
—You didn’t mention the simple fact that the camera moves to the window side of the scene. Where we saw the ladies dancing in front of the table, we’re now on the other side of the same table, looking back toward the “other” room.
—It’s from this new angle that we see “Mom” approaching. The quick cut gives us the continuity to know that the person who arrives at second 1.5 or so is now entering the kitchen. The purple shirt helps too.
—I’d say “Mom” is tip-toeing into that room to avoid being noticed. She’s “sneaking up” on them so they won’t stop on her account. Yeah?
—I’m watching the eyes of Grandma and Granddaughter. They’re focused at tabletop height. Why? We see the back of a propped-up camera in the nearest foreground. They’re making a video of their dancing.
—Mom didn’t have to worry about disturbing them. They carry on without hesitation when they see her. If Mom had any suspicion that Grandma would be troubled by being “caught” gleefully dancing, Grandma’s goofy facial grin makes it immediately clear she is not in the least embarrassed. Right?
—And Mom’s reaction is just as telling. At first, it says, “Am I seeing what I’m seeing?” and immediately after, it shifts to “I shouldn’t be surprised. You don’t care what anybody thinks.”
—You handle the Grandmother’s confusion well. I think it’s apparent even while she’s still standing at the table. Her hesitation is long enough to suggest she’s lost track of what she’s doing. Did she forget to bring something to the table?
—The director carefully keeps the girl’s attention occupied so we don’t have any reason to look at her even though she’s in the middle of the screen. Beautifully directed, don’t you think?
—In a 30-second spot, fully 10 seconds are devoted to having Grandma sit down. That’s a massive time investment in focusing on her confusion, right? Three cuts, all come back to her, each time she’s still worried.
—Does Mom look tentative to you? Is she trying to “size up” how well Grandma is staying “in the moment”?
—After Mom takes her seat, Grandma is going to serve something. At this point, I’m willing to bet, we need to voiceover to help us. Did she suddenly realize what was under the lid? Is she getting herself oriented?
—Nice catch on that glance between the Mom and Granddaughter! Really nice catch.
GRADE IMPROVEMENT
You’ve done really well here, Anonymous. If you need grade improvement, do an AFTER LISTENING TO THE SOUNDTRACK section. Add comments below your timeline to detail how much the music, dialog, voiceover, any other audio elements ADDED to the ad’s effectiveness. It might also DETRACT from your understanding, or SUPPLEMENT the message, or CONTRADICT what you thought you knew from the visuals alone.
Overall, did you find the film SUCCESSFUL in delivering its message and were the VISUALS for the most part USEFUL, COMPELLING, etc. . . . ?