Casting Consideration

Recce and Risk Report

For my twenty keyframes, I will be taking shots in three different locations. These will be the school library, lecture theatre and a small park in Crayford (Crayford area). These three locations set the mood for the script that I have written. I have chosen these locations because I think that they are appropriate places to complete my shooting and keeping my script in mind, I know that  these locations are suitable for the keyframes to be edited and adjusted. Though I think that these three locations will complement my script, I may make changes while shooting the keyframes. Choosing the right locations for my keyframes is very difficult, as I want to analyse and show the "Representation of Muslim women in Bollywood". It is difficult because most Bollywood film locations are in India, especially when portraying anything to do with the conflict between the Muslims and the Hindus. Therefore, this is a challenge for me, but I have tried to come up with the best locations, so then I can analyse them correctly and relate it to my thesis and script properly. 


School Lecture Theatre:

Crayford Area:

School Library:

These shots of my locations are relevant to my thesis which is, "The representation of Muslim women in Hindi Cinema". These locations will help me to explore and develop my ideas and keyframes. 

(Medium center shot)

Since the colours are dark in the lecture theatre, this will be the best place for me to introduce Zaiyna's character, as her character has grey shades. The black in the background will be perfect for her to juxtapose against, as this will foreshadow the bad side of her, that is unveiled as the keyframes develop. Also, this shot will show her dominant and feisty characteristics, where she will be seen giving a speech, therefore her as a leader. The lighting in the lecture theatre is also really suitable for the shot I am planning to take, this is because it is dull and fairly bright at the same time. Again, the lighting will help me to analyse her character in the present keyframe and foreshadow. The dullness is a metaphorical way to reveal her grey characteristics.

(Center Shot)

I have chosen the Crayford area to introduce ASR's character as well as take other shots related to the script. I think that an outdoors shot will be appropriate to introduce the male protagonist, as his character is positive. Therefore the bright day and greenery will be a metaphorical way to portray the characters personality. Also, having him juxtaposed against a tree will be symbolic, as tree is a part of nature and nature is supposed to be pure. Him standing juxtaposed against the tree will also reflect his masculinity, as a tree is also a phallic symbol. So, his masculinity and positivity will be represented clearly in the keyframe, as he is the typical Indian Hero, who is physically strong yet soft hearted. I decided to portray him that way after researching into Bollywood films.

(Medium low angle shot)

I have chosen to take most of my keyframes in the school library as I think that is the most appropriate place, where I can edit and adjust the keyframes. It will be easy to take the shots and display them correctly. The main keyframe I am planning to take in the library is when the Muslim female protagonist is praying, while the Hindu male protagonist observes her amorously. That is a very ironic moment as the concept of my script is the conflict between the Hindus and the Muslims, yet a Hindu male will be shown admiring a Muslim woman while she is praying. This is a moment which is very rare to see in Bollywood films. I have chosen the library because of the lighting. The lighting is correct for the shot I plan to take. This is because both the Muslim female and the Hindu male will be under grey light, with a bit of brightness. This will foreshadow the ending of my script, where the Muslims and Hindus embrace peace. 

Health and Safety

All three locations have different health and safety issues to be considered, including vehicles and crowds of people.

The health and safety precautions to be dealt with while taking snapshots in Crayford will mainly be the vehicles passing by while I take the shots. I will have to plan to take my shots during less busy periods and think about high-visibility jackets for my actors and myself. Also, pictures can be taken from the pavement where it will be not so dangerous. If I do have to stand in the road I may have to take an extra person with me to keep an eye on the traffic.

The lecture theatre and library is in The Leigh Academy and thus much easier for me to access compared to my first location. The biggest precaution to take is to ensure that my actors do not accidentally fall off the stage and that the books are in the right place. This is so then my actors and I don't trip over the books and injure ourselves. Due to the potential hazards in the library, the librarian will be moving some books and keeping other students away, so that they don't interfere or interrupt the shots. Thus, shooting can be done efficiently.  

20 Key Stills

Representation of Muslim women in Hindi cinema

The following images are the twenty key stills that I have selected, to act as a visual aid for my screenplay. They capture the main events that occur throughout; incorporating costumes and the location to match, that are described in the screenplay. The scenes are of the Muslim female protagonist, Zaiyna and the Hindu male protagonist, ASR, living their respective lives during the religious and political conflict of their families.  Also, how they bump into each other and become a part of the same frame, and how the Muslim female protagonist's death unites the two groups. This is the way a Bollywood film would most likely present the portrayal of Muslim woman in Bollywood; a story that will incorporate a love story, religious conflict and death. Examples of this are the primary texts that I have researched, Fiza and Veer-Zaara. 

Key still one

This first image is a high angle centre shot of Zaiyna's brother's death, that leads the script and story forward. The high angle shot has been taken from the Hindu fathers and families perspective. As the Hindus and Muslims despise each other, this is a shot to show how much the Hindu father looks down on the Muslim family. As the audience, we also look down on him, however, most of the Muslim spectators will feel aligned with the dead brother in the key still, as he accidentally gets shot, therefore this would be the death of innocence. I felt that this is the right choice of cinematography to illustrate these aspects of the story. Also, the lighting in the key still is dull, to relate to the feeling and atmosphere in the scene. This is a metaphorical way to reflect the Muslim fathers and families emotions.

 I have found out from my research and primary texts that someone has to die for the religious conflict to become worse, or sometimes to solve it. This still is similar to Fiza, Fiza is driven by the search for her innocent brother, who becomes a terrorist, and then in the end Fiza has no choice but to kill her beloved brother. By this, I know that this key still is relateable to my research and thesis.

I originally took this image indoors. Due to few circumstances, I had to change most of my keyframes and edit all of them. Which is why I managed to make this image look like it was taken outdoors, with the help of Photoshop. I cropped out the background, then layered the dead brothers image on top and rubbed out all the unwanted background that came in the way. I also adjusted the lighting of the frame, so then it looks suitable and appropriate to match with my analysis. 

Key still two

This image is a medium centre shot to introduce the Muslim female protagonist, Zaiyna. In this image she is shown giving a speech to support her fathers campaign in the elections. The expression on her face makes her look like she is serious about what she is talking about, which is supported by her hand gesture. Her expressions and gestures make her look feisty and dominant. Also, with her hair tied up, she looks very masculine, which is again supported by the hand gestures and expressions. Such Muslim women are very rarely seen in Bollywood, which is why I made her look similar to Fiza's character.

I took this shot deliberately and edited her juxtaposed against the black curtains. This then foreshadows her grey characteristics, which are unveiled later in the script and in the key stills. Her clothing is very modern and western, yet moderate for a Muslim woman. Similar to how Fiza's was in Fiza, which made Fiza very masculine and smart, therefore this makes Zaiyna look very masculine, dominant and confident. It is also very ironic that she is wearing white, which symbolises purity yet she is a character with grey shades.

I used Photoshop to edit her into the background. I also adjusted the lighting and brightness, so then the key still looks a bit grey, which is a metaphorical way to represent her grey characteristics. 

Key still three

This image is a medium close up shot of the same scene from above. I chose to do this, in order to capture her expressions more closely. As seen in the key still, she has her arms up in the air, and her eyes are rolling around. This means that she has confidence in facing the audience, and we are made to feel we are directly interacting with her. At this point most  young Muslim women in the audience will feel aligned with the smart and empowering Zaiyna. This is because they know that she is positive, and are unaware of her grey shades. Also, because this is rare to see in a Bollywood film, that the Muslim female protagonist is wearing western clothes, has her hair tied up, is dominant and giving a strong speech. This key still is a powerful one.

I edited this key still on Photoshop. I had to layer the Muslim female protagonist in front of the projector board. This is so then nothing else comes in the way and the focus of the shot is only on her.

Key still four

This image is a medium centre shot. I had originally planned him to stand juxtaposed against a tree, however I found this image and shot better. This is because the shot completely focuses on him. With the lighting supporting the key still, this reflects his purity and goodness. Also, him wearing white, metaphorically reflects his purity. Compared to the Muslim female protagonist, he is more relaxed and calm in the frame. This is supported by the greenery in the shot, which is apart of nature, therefore it is pure.

He also has a smile on his face, which shows that they are both opposite to each other. He is also spreading awareness of his fathers Hindu campaign for the elections. Therefore, he also looks very smart yet because of goodness he looks attractive which gains attention. This is similar to Veer from Veer-Zaara. They are both smart yet calm, which makes them look attractive.

I had to edit this image into another background. I Photoshopped it the same way I Photoshopped the previous images. However, this time I made the brightness brighter, so then it metaphorically portrays his positivity. 

Key still five

This is a medium high angle shot. This is to capture the first meeting of Zaiyna, the Muslim woman and ASR, the Hindu man. They are both at the same level in this shot, unaware of each others identity. I took this shot deliberately, in order to make them look equal. They are both smiling at each other and are wearing white, which makes them both pure. However, they both are wearing a bit of black, which metaphorically, foreshadows the future of the script.

I adjusted the brightness in this image, to make them both look positive. The brightness shows that they can both be together if they wanted to, despite the religious conflicts. This is similar to Veer-Zaara, as Veer and Zaara have to go separate ways because of the religious differences. Something that a Bollywood film will do, to carry the story forward and to spread the message, that a Muslim and Hindu should not be together. However they can if they wished to, just like how Veer and Zaara do by the end.

Key still six 

This key still is a medium centre shot that captures the innocent moment that ASR and Zaiyna are spending together. They are both looking into each others eyes and having an intense yet a innocent eye contact with each other. I have tried to keep the brightness balanced in this key still. I have tried to keep the brightness high on his face, as his feelings are genuine for her in the key still, where as her smile and look in the eyes are all fake, to betray him. Which is why I tried to keep her on a slightly darker side. However, since his emotions are real I edited their image with a bright and green background, so then it reflects his innocent feelings. Since he is unaware of her identity and is being deceived, the audience are also being deceived along with him, which is why I kept everything bright and white in this key still, to foreshadow the betrayal. Therefore this key still is of a simple and naive moment that the Muslim woman and the Hindu man share. Which can be compared to Veer-Zaara, as they have many innocent moments like this.  

Key still seven

This is a medium low angle shot where Zaiyna is shown to be praying. In this key still she is shown like a religious Muslim woman, who despite being modern and having modern thoughts, knows how to follow her religion and respect it. In this image she looks innocent and pure while praying. She is also juxtaposed against the white wall, which suggests that her feelings for her religion are genuine.I also kept the lighting bright, so then she looks pure while she prays. I took this low angle shot from ASR's perspective as he is desiring her while she is praying. This supports theorists Laura Mulvey's male gaze theory. As Laura Mulvey says that women are the object on screen who are desired by the men. Therefore the next key still captures ASR's expressions to support her theory. 

Key still eight

This image is a medium close up shot of ASR's expressions.This is from the same scene from above, however he is admiring her while she is praying.This is very ironic as a Hindu man is admiring a Muslim woman while she is praying, despite the conflict between the religions and their families. This is similar to my primary text, Veer-Zaara. As Veer does a similar thing while Zaara prays. I kept the brightness high in this key still, as his emotions for her are genuine. It is ironic as he is wearing black, he is against a white wall and under bright light, which suggests his purity. However, it also foreshadows the future of the script and the revenge that he will take on Zaiyna, but that will also be derailed by his emotions for her and the feeling of betrayal, though she does not commit to him.

This also supports theorist Laura Mulvey's male gaze theory. This is because Zaiyna is the female who the object and is being desired by the male, who is the subject. These two key stills are no different from what she has argued. This also supports my research and primary texts, as Fiza and Veer-Zaara also support Mulvey's male gaze theory. 

Key still nine

This image is a close up centre shot. In this, the shot is of Zaiyna's bookmark with her name on, in the Holy Quran, which is a religious holy book similar to the bible, for the Muslims. The light is bright in this shot, in order to foreshadow the unity in the end.

I had to take both images separately and Photoshop the name on top of the Quran. I wanted to give it a bright effect, which is why I Photoshopped the name on top of the Quran. 

Key still ten

This is a medium centre shot. I kept both of them in the same position and equal in the frame, as they are both pointing guns at each other, therefore they are equal in this key still. They are both pointing guns at each other, after ASR finds out Zaiyna's truth in the previous shot, that she is the daughter of the Muslim family that him and his family dislike. The gun is a phallic symbol, which they are both holding up. In Bollywood, this will be suitable for the Hindu male to be pointing the gun, but it will be shocking for the Muslim woman to be pointing the gun at the Hindu man or even a man. The fact that the gun is a phallic symbol and Zaiyna is pointing the gun fiercely at ASR, shows how masculine she is and is no different to him. This is why they are both in the same position, same angle, to erase the difference.

I had to take these images separately like the previous ones. I had to layer both of them on top of this image that I took. I tried to keep the brightness medium, as the key still negative yet positive at the same time. This is because the Muslim woman is standing in the frame, looking masculine with the gun in her hands and angry expression. This supports my research and primary text, Fiza as she does a similar thing, but with her brother. 

Key still eleven

This key still is a close up centre shot. In this key still, ASR is shown despising his gun. Because the gun is a phallic symbol, ASR is not only getting rid of the gun but his masculinity as well. He despises his gun as he cannot kill her and gets furious because of that, therefore he gets rid of his gun in anger, which means he gets rid of his masculinity. However he is juxtaposed against the white again, which means that he is still positive and pure at heart, even if he is in fury and throwing away his masculinity. 

Key still twelve

This key still is from the same scene that the previous one was from. This is a close up shot of Zaiyna's expression. In this key still she is shown smirking at ASR while he gets rid of his masculinity in fury. Therefore she is the masculine and dominant one in this. I kept the lighting dark, so then the image can metaphorically reflect her grey characteristics that have now been unveiled after she accomplishes in betraying him. This is opposite to how she was introduced, however her expression still looks confident and feisty, as being a Muslim woman, she won over the Hindu man. 

Key still thirteen

This key still is a medium centre shot of ASR reading the newspaper after being framed on it by Zaiyna. In this image ASR is carefully reading the news about him being with a Muslim woman, despite knowing how much his family dislikes Muslims because of Zaiyna's family. Its quite ironic as he is being called bad, despite being good and pure, which is shown by his white shirt and the juxtaposition against the white wall. However, this time I kept the brightness low, as it metaphorically foreshadows the revenge that he takes from Zaiyna.  

Key still fourteen

This image is a medium centre shot of Zaiyna reading the news about ASR. She looks extremely happy with his defeat. She still looks dominant like she did in the previous images.

However, according to theorist, E.A Kaplan argued that women are not active but submissive. They are objectified on screen and it is the spectator who has to align with the female character consciously, in order to understand them and not just see them as objects on screen. This is no different for the female characters in Bollywood, especially if she is Muslim and has the dominant gaze. Therefore, though she is looking happy in this key still, I took this image to foreshadow her downfall, by keeping Kaplan's theory in mind. The Muslim audience and women will not align with her in key still, they will despise her instead. However any Muslim spectator will align with her by taking a preferred or negotiated reading of the situation. 

Key still fifteen

This image is a medium centre shot of ASR kidnapping Zaiyna. In this image Zaiyna looks helpless and ASR looks dominant and fierce. It is ironic as they have both swapped their characteristics in this key still. ASR looks very masculine in this still, whereas Zaiyna looks very feminine through her expressions, for the first time. I deliberately kept the lighting dark in this key still, as they are both now equal with their actions. However, I have kept Zaiyna under a bit of light as this time she is the victim. Whereas ASR is in most of the darker side, as he is now equally as guilty as she is, therefore they are in the same frame, equally.

I Photoshopped this image like the previous ones. I had to layer both of them on the background image and edited the lighting.

Key still sixteen 

This image is a medium high angle shot. In this image ASR is untying Zaiyna's hands, after kidnapping her. This key still creates sexual tension between the duo as they are both very close to each other in this still. They are both looking directly into each others eyes, with intensity. However, ASR's position in this key still makes him look dominant over her, as she is helpless with her hands tied, however due to his feelings for her, he is untying her, which creates this sexual tension and intimacy between the two. The white wall in the background, juxtaposed against the duo makes them pure, as they are both genuinely awkward in this intimacy. I kept the lighting bright as they are both having a genuine moment in this key still. 

Key still seventeen

This image is a high angle shot on Zaiyna's expressions. In this key still Zaiyna is feeling guilty for what she did with the innocent ASR. She is feels bad for framing him after seeing his pure side, though he kidnapped her. This is the opposite of how Zaiyna's character has been so far. Her emotions are genuine, which is why I took this high angle shot, to show how she has lost that dominance and masculinity in this key still, and since she is feeling, the high angle shot is suitable to make her look like she is guilty. The expression on her face shows how intensely she is thinking about her wrong actions, which is why I have kept the brightness lighter on her face. Since her guilt is genuine, the brightness is a metaphorical way to her genuine feelings. 

I have used the help of Photoshop to edit this image. I layered Zaiyna onto the picture of this corner, and then adjusted the brightness and colouring of the hair. Her hair was not coming out appropriately, so I had to colour her hair in black. 

Key still eighteen

This image is a medium centre shot. In this key still, Zaiyna has been accidentally killed by her father, who is crying with his head down, near her feet. This is a metaphorical way to show him to be guilty. Where as it is ironic to how Zaiyna died in the arms of the Hindu man instead of any of her Muslim family or friends. ASR is also the man who she saved from getting shot by her father, since she was guilty in the previous key still. ASR's  position in this key still is dominant over Zaiyna, as she is on his lap and he is looking down on her. However, because he has his head down, this makes him look less masculine and empowering. He looks very helpless and weak instead, which makes Zaiyna dominant over him.

Also keeping E.A Kaplan's female gaze in mind, I decided to take this important key still, as after having the dominant gaze throughout the whole script and key stills, she gets punished with death, for having that dominant female gaze. Even in the previous key still she has the dominant female gaze, despite being a Muslim woman, she still thinks about him because of her guilt. Therefore, few spectators will feel aligned with her, consciously, especially few Muslim women in the audience may feel aligned with her.

I edited this image with the help of Photoshop. I layered Zaiyna's, ASR's and her father's image on top of the background image. I also adjusted the brightness in the key still and tried to make it look a bit dark, as that is a metaphorical way to show ASR's and Zaiyna's fathers emotions, and the sadness of her death. However, I tried to balance the brightness by keeping her face a bit bright, as that foreshadows the ending of the script. 

Key still nineteen

This key still is a close up shot, taken from an high angle. This close up shot is to ASR's emotions after Zaiyna's death. In this key still, ASR looks very feminine and helpless, as he has his hands on his forehead. The gesture of his hands on his forehead makes him look very feeble and powerless. This a metaphorical way to show his genuine feelings for Zaiyna and his guilt, that she died because of him. However I have kept the brightness a bit high on his expressions, as his emotions are genuine. It is also to foreshadow the last key still about the unity. The spectators will feel aligned with him in this key still, whether they are Muslim or Hindu. But that will also depend on the preferred or negotiated reading of the audience. 

Key still twenty 

In this close up centre shot, the Muslims and Hindus have finally sorted out their differences by shaking hands. This image is to show the fathers of the Muslim female protagonist and the Hindu male protagonist, shaking hands with each other and letting go of the enmity, that has been going on between their families since the division of India and Pakistan.
I deliberately kept the brightness high on this shot, as it  finally shows a peaceful unity between both religions and families. This is quite ironic, as though, Zaiyna got punished with death for having the dominant female gaze, she still managed to unite everyone with her death.

I had to use Photoshop to edit the hands on top of this image, as I found it appropriate like this. Since there is greenery in the background, with a clear sky, to symbolise the purity and peace behind this unity. The background is  a metaphorical way to reflect the unity. 

Evaluation

Women have always been underrepresented in films. Whether it is Hollywood or Bollywood, women have always had the role of being sexually presented on screen. Like theorist, Raymond Bellour study says that the woman is the object and the man is the subject of desire. Cinema is dominated by men from all three directions, which includes the look of the camera, with the camera man. Then there is the diegetic gaze: the man gazing at the woman, a gaze she may return but is not able to act upon. Then finally there is the spectator's gaze, which imitates the other two looks. Correspondingly, women are presented the same way in Bollywood as women in Hollywood. However, the Muslim women are represented considerably different to Hindu women. It is the Muslim women who are 'experimented' with, either as a masculine avatar or as a damsel in distress; the latter being the case in most Bollywood films. Being a Muslim woman, I align with most of the Muslim female characters, which is why I chose to study the representation of Muslim women in Bollywood cinema.

 

My main focus was to analyse Muslim women and their differing portrayal in Bollywood. While researching and analysing the films, Fiza (2000), Veer-Zaara (2004) and My Name Is Khan (2010) in depth, I found out that the representation of Muslim women changes in each film. The women get punished differently because of their Muslim identity, and it looks more effective, as they are also the female protagonist or an important character in the film. The dominance and depiction of these Muslim female characters changes with time, throughout the years, which is why I kept my Muslim female protagonist more modern and central in my keyframes. However, as I used the female gaze and kept my Muslim female protagonist dominant, she had to be 'punished' in the end. I kept theorist E.A Kaplan's theory in mind while doing so, as Kaplan argued that women are not active but submissive. They are objectified on screen and it is the spectator who has to align with the female character consciously, in order to understand them and not just see them as objects on screen. This is no different for the female characters in Bollywood, especially if she is Muslim and has the dominant gaze. This is why I chose the three films listed above, and expanded on the representation and portrayal in my keyframes.

From my research I found out that the representation of Muslim women in Hindi cinema, has not only progressed recently, but it has slowly progressed over the years. Both female Muslim protagonists drive the story forward, and this is highlighted by the titles of both films, Fiza and Veer-Zaara. They are both portrayed traditionally but with a ‘voice’, which most Muslim women would not have had previously in Hindi cinema. With time, they are also shown to have a modern outlook and approach to society. The Muslim female protagonists are aware of their 'place' within society, and know how to conquer and react to that, very well. Whereas, in the 1960’s film the Muslim female lead, is not allowed to have a voice at all, with a bigger reason as she is a courtesan in the film. Similar to these films, and with the progress in time, I came up with a very modern, headstrong and confident Muslim girl, who is a mixture of these characters, in my keyframes. She is especially a similar portrayal of Fiza from Fiza, as her characteristics are very masculine and dominant, like Fiza's are. However, I did not use Laura Mulvey's male gaze theory in my keyframes, like I had researched. As my keyframes progressed, I decided to make a few changes, and instead I used E.A Kaplan's theory about female gaze. This is because I kept my Muslim female character dominant and possibly more masculine than the male character. This is why she gets punished with the death of her character, but with redemption.

My keyframes were successful in establishing my macro study as it shows a dominant Muslim female as the lead. She is modern and very masculine in her approach. She follows the rules and traditions of the Islamic religion by praying, which I represented through my eighth keyframe. I also used mise-en-scene to present the other aspects, such as her moderate clothes, where she is not exposing too much of herself, just like Fiza. She has her hair tied up and is giving a speech in another keyframe, which reflects the Muslim females confidence and strong morality, in the Hindu society. As my character and analysis came out the way I had planned and researched, therefore this clearly explores my macro and supports my thesis, which focuses on the representation of Muslim women in the Hindi cinema. This is why I think that my keyframes are successful and have supported my textual analysis and planning. Though it was difficult in making it successful, I still tried to convey my research and analysis correctly through these keyframes.

Most of my keyframes have been successful in highlighting the different features of each frame. However, the ones that came out the best are keyframes seventeen and eighteen. This is because the editing is very effective in these two keyframes. Also, the messages that I tried to convey through the keyframes are being expressed very clearly. In the seventeenth keyframe, the high angle shot has perfectly captured Zaiyna's expressions, which evidently shows her guilt for what she did to the innocent ASR. The image rightly captures her feeling bad for framing him, after witnessing his pure side. This is the opposite to the representation of how Zaiyna's character is in the previous keyframes. I took the image from a high angle shot, as it shows the loss of her dominance over ASR, which also indicates that she is now weak. To give the keyframe a better cinematic and realistic effect, I edited and layered Zaiyna onto the picture of a corner in my house. Then I adjusted the brightness and colouring of her hair. Her hair was not coming out appropriately, so I had to colour her hair in black. I did similar with the eighteenth keyframe, where Zaiyna is lying dead on ASR's lap.  ASR's position in this key still is dominant over Zaiyna, as she is on his lap and he is looking down on her. However, because he has his head down, this makes him look less masculine and empowering. He looks very helpless and weak instead, which makes Zaiyna dominant over him.  While taking this image, I kept E.A Kaplan's female gaze in mind. I decided to take this important key still, as after having the dominant gaze throughout the whole script and key stills, Zaiyna gets punished with death, for having that dominant female gaze. Again, I edited this image with the help of Photoshop. I layered Zaiyna's, ASR's and her father's image on top of the background image. I also adjusted the brightness in the key still and made it look darker, as that is a metaphorical way to show ASR's and Zaiyna's fathers emotions, and the sadness of her death. However, I tried to balance the brightness by keeping her face bright, as that foreshadows the ending of the script. With all of these successful outcomes, I feel that these two keyframes are the most efficacious keyframes out of the twenty.

Overall, I think that my research, plan and my keyframes are all relevant to each other and they all explore my thesis, the representation of Muslim women in Hindi cinema.  Like I researched, though they are dominant and positive, they are still degraded in most cases. They are shown to be known as the stereotypical ‘Muslim terrorists’, the Hindu and Muslim face off in politics or forbidden love due to religious differences. All of these aspects are shown in Fiza, Veer-Zaara and My Name Is khan, which is why I merged the themes together and created my script. In my script I had a religious and political conflict, which also had a long-running family feud and forbidden love. Putting all these aspects together, I believe that my keyframes turned out to be very successful. My research and keyframes, all revolve around my thesis and macro, which makes it triumphant and conveys the message, that religion is an important factor in life but only if there is humanity and unity. That is the only way to have a peaceful life, but unfortunately someone has to lose their life, in order for the peace to come. This is the message that I tried to convey through my keyframes, along with the exploration of my thesis.