Carol

Question 1

Answer 1

Performance: Cate Blanchett’s portrayal of Carol is self-assured, composed, and graceful, whereas Rooney Mara’s Therese is hesitant and awkward. The power imbalance in their initial interaction subtly inverts typical gendered expectations.

Mirroring this power balance: “Mommy’s Baby” on the wall, Todd Haynes as a postmodern dir.

Question 2

Answer 2

Cinematography: Edward Lachman’s cinematography uses shallow focus here, framing Therese behind glass displays or partially obscured by objects. This visual device metaphorizes her entrapment within prescriptive gender norms/workplace, High angle shot implies disempowerment.

In the next shot, (low angle) she is with the trainset (queering) and framed less constrictively.

Question 3

Answer 3

Editing: The editing rhythm here is slow, using longer takes to maintain the tension and awkwardness of first contact. Cross-cutting between reaction shots allows the audience to absorb the unspoken undercurrents.

Performance: Carol keeps her eyes trained on Therese, even as she looks away. When Therese suggests a trainset, Carol doesn’t dismiss it as “for boys”, and buys it without even looking, show of faith in Therese

Costume: Therese’s simple garb juxtaposes with Carol’s plush furs and red nails, and of course, the Santa hat, symbol of corporate oppression :P (Carol doesnae work!)

Question 4

Answer 4

Mise-en-Scène: The lawyer’s office is imposing: heavy wooden furniture, tall bookcases, dim, oppressive lighting. It is an explicitly masculine, upper-class space—designed to intimidate and reinforce authority.

Question 5

Answer 5

Costume: Carol’s costuming highlights her gendered vulnerability. She is immaculately dressed, composed, feminine — but her elegance is almost a form of armor. Meanwhile, Harge’s suit blends him into the environment, reinforcing that this legal world is designed by and for men. Carol’s presence is anomalous, reinforcing how women must perform strength and decorum even when emotionally distressed in male-dominated arenas.

Performance: Carol’s voice is notably soft but firm; her attempts to maintain composure contrast with Harge’s louder, often more emotionally uncontrolled tone. His raised voice is permitted (and even expected) within this masculine space, while Carol’s restraint is both necessary and, implicitly, demanded.

Performance: Carol’s controlled body language—clasped hands, straight posture, minimal gesturing—reflects a woman deeply aware that any slip into emotion would confirm the stereotype of female irrationality.