Assessment discussion of The Scent of Green Papaya: The first half of class is a discussion about the depth of field in The Scent of Green Papaya. These questions may help prompt students:

• What were your observations about the depth of field in The Scent of Green Papaya?
  
• How were different meanings conveyed by the different depths of field? When was deep focus used?
  
• When was selective focus used? Why do you think these specific camera movements were chosen?
  
• What was conveyed through the use of depth of field?
  

Since their responses should already be turned in, it will be helpful to review the students' responses. From these responses, choose particular interesting/competent portions of responses and have those students comment on what they have written.

Anticipatory set: Transition from the discussion of depth of field by asking the students to think about what the depth of field revealed about the characters in the shot. The use of deep focus in The Scent of Green Papaya reveals interesting nuances about the relationships between characters in the film, while the depth in field utilized in Shall We Dansu? also reveals how characters relate (or do not relate with one another).

The comparison of these films should lead to a discussion about the different characters in the films, how they relate with one another, and the meaning (or lack thereof) inherent in these characters. Questions such as these may help prompt discussion:

• How do the characters and their relationships in these films differ?
  
• Considering what you have already thought about these films, what additional support or lack thereof is given by the characters to what you have already derived from these films? How is this accomplished through characterization?
  
• What traits do you possess? What traits do others in the class possess? What do these traits reveal about yourself and others? What do they reveal about your community and society?
  

Present this fictional scenario to the students: You have been asked to write a short script about yourself. What traits would you give yourself in the script? How is this character different from you in real life? Why would you choose these specific traits to include? What traits would you exclude? Why? This should lead into a discussion about the significance of characters and characterization—the meaning and connotation inherent in creating characters to act in the capacity that they do in films.

 Lecture: Characters in films have varying ranges of depth and substance to them. These different characters play different roles in films, relay different messages to the audience, and convey different levels of meaning. “In film narrative, characters have several properties. They usually have a body (though sometimes a character is only a ghostly voice . . .). Characters also often possess character traits. When we say that a character in a film was 'complex' or 'well developed,' we really mean that the character was a collection of several varying traits. A minor character may have only one or two traits. A memorable character such as Sherlock Holmes is a mass of traits, some bearing on his habits (his love of music, his addiction to cocaine) and others reflecting his basic nature (his penetrating intelligence, his disdain for stupidity, his professional pride, his occasional gallantry)” (Bordwell and Thompson 72).

“In general, a character's traits are designed to play a causal role in the narrative . . . Character traits can involve attitudes, skills, preferences, psychological drives, details of dress and appearance, and any other specific quality the film creates for a character” (Bordwell and Thompson 72). In addition, characters and characterization are often created to reflect not only their traits but also the society from which the character is created. Social commentary in a film is often found in the characters themselves.

Discussion: After these remarks on characters, traits, and social commentary, prompt discussion about characterization by asking questions such as:

• What other films have you seen with interesting characters?
  
• What made them interesting? What sort of traits did they have? What did this reveal about the characters? How did they affect the film?
  
• What additional meaning did they convey in the film?
  

Classroom practice: This discussion should prepare the class for the next segment of the lecture, in which the class will watch a clip from The Scent of Green Papaya. The clip from The Scent of Green Papaya should help to reinforce depth of field as well as introducing the analysis of characterization.

To prepare the students, inform them that you will be watching a clip from The Scent of Green Papaya to build on their initial approach to the film by looking for something new. This time they will be looking for the traits of the characters in the film. Show the clip of younger Mui washing the floor when the younger brother is taunting her. The two different characters have different depths of character which is revealed through their traits. Additionally, the two characters reveal different classes of society. If time permits, also show the clip of older Mui when she watches the young man and his fiancée. The three characters all reveal different levels of depth and different social attitudes. It may also be worthwhile to compare this clip with a clip from Shall We Dansu?.

Check for understanding: After showing the clip(s), have students share their observations about depth of character, traits, and the meanings/messages conveyed through them. These questions may help to prompt discussion:

• What character traits do the different characters possess in these clips?
  
• What does this reveal about their character? Which are deep characters? Which are shallow characters?
  
• Based on traits, how important are the characters to the film?
  
• What do the different characters reveal about the society/societies from which they are created? How is this significant to the film?
  

Introduction of Three Men and a Cradle: The practice with The Scent of Green Papaya should prepare the students to observe different characters in Three Men and a Cradle, the film that they will watch during the week.

Background information: Three Men and a Cradle was made in 1985. It was written and directed by Coline Serreau, who was a particularly feminist filmmaker. This film was nominated for Best Foreign Film Oscar, which got it known in the United States. It was immediately picked up to be remade as 3 Men and a Baby (1987), directed by Leonard Nimoy. However, the American sequel 3 Men and a Little Lady (1990) was an original story. However, Serreau did write and direct a sequel 18 Ans Aprés (“18 Years After” or “18 Years Later”) in 2003.

The film is shot with many soft edges and pastel colors. This reflects a trend of the 1980s, but it also reveals the tone of the film. It reflects a certain attitude that the director was intending to convey. In an interview, which is contained on the DVD, Serreau says, “Filling theaters means you're connecting with people. If a filmmaker claims not to want that, they're lying. We want to talk to people. We want to be heard. When people hear us, they teach us things. It's an exchange. At least, that's how I see it. I knew that my personal desire, an almost physical desire, to show a baby in all its beauty and glory was shared by millions of people. I knew that. It's almost a sensual pleasure, the sight of a baby. Its weight, its touch. I knew it had to be filmed like a painting, like a carefully-lit painting. Obviously, people would be touched. I knew it. It's also the simple pleasure of watching that child which made the film a success. Like watching any child, not just this one in particular.”

This is a particularly interesting film to consider coming from a feminist critic because it does not present women in a very powerful light. Instead, it questions gender roles as a whole, which clearly reflects changing attitudes in the society from which it comes—1980s France. Further in the interview, Serreau says, “It's a film about gender roles and the changes being made in our society between men and women.” It is a (feminist) woman's perspective of men assuming traditionally female roles. It presents a very interesting discussion. All of these issues are perceived in the characters of the film, which is important to look for.

Film clip: After setting up the film, show a clip from the film itself. After baby Marie shows up on their doorstep, the men must get formula and diapers for the baby. The scene that crosscuts between Jacques trying to buy formula and Michel taking care of Marie reveals different things about these characters. Look for how the characters' depths are revealed (or not revealed) in the scene. The traditional masculinity of these characters is undercut when they are forced to adopt traditional female roles. How does this reflect changing times in 1980s France?

Follow up the clip by asking students to share their observations about the characters in the clip. This should help them be prepared to look for characterization, traits, and social influence as they watch the film on their own.

Closure: This discussion should lead into a wrap-up about character—traits and social influence. Re-emphasize the importance of how specific choices of characterization create meaning in addition to the other elements of the film. Introduce the assessment assignment.

Assessment: Each student will write a 1-2 page response paper to their out-of-class screening of Three Men and a Cradle, focusing their remarks on the characters in the film. The response papers should be turned in before the next class. Also, the first half of the next class will be a discussion about Three Men and a Cradle for which they should be prepared.

Written by Brett Stifflemire.