论文代写：电影情节描述
这部电影的制作是在描绘英美两国之间紧张的历史时期，描绘了工作力量和管理层之间不可避免的对立。这部作品还描述了最近男女之间的紧张关系。电影的最初场景是，他们立即导致了男女之间的冲突，并探讨了女性问题和男性问题(威尔逊和黛博拉·26)之间的明显冲突。该相机描述了埃斯珀兰萨和拉蒙的作品，例如，一个人正在劈柴生火，做其他的杂务，而另一个人正在做一些技术工作，比如在矿井的黑暗中进行炸药照明。场景制作描述了这两类任务的问题和重要性。在最后一个序列中，不仅是摄像机，而且脚本聚焦于不同的斗争合并，这使得阶级认同的统一。当人们开始涌向驱逐场景(威尔逊和黛博拉·26)时，这样的一个序列实际上是融合了政治的空间反映。最初，观众只能认识一些人，但在一些场景中，观众意识到这几个人代表了绝大多数人。导演和制片人确保电影的结论是强有力的，而且电影的结构是建立在它之上的，在一定程度上也是可信的。权力不仅在于叙事的悬疑，也在于知道谁赢了。
论文代写：电影情节描述
The production in the film is that it helps in depicting antagonism of inevitable nature between work forces and management depicting the tensed long history between Anglo and Mexican Americans. The production also depicts the even more recent tension between men and women. The initial scenes produced in the film are that they result in immediately establishing the conflict between men and women along with exploring the conflict of apparent nature between issues of women and issues of men (Wilson and Deborah 26). The camera depicts the work of Esperanza and Ramon for example where one is chopping timber for fire and doing other chores while other is doing some technical works such as dynamite lighting fuse in the mining shaft darkness. The scenes production depicts problems and importance of both these kinds of tasks. Within the last sequence, not only camera but also script focus over different struggles coalescence and this forges the class identity unification. Such a sequence is literally convergence one with spatial reflection of politics as people start pouring towards the eviction scene (Wilson and Deborah 26). Initially, the viewer is only able to know some people, but then the viewer in a few scenes realizes that these few represent a vast majority. The director and the producer ensured that the film’s conclusion is powerful and as the structure of the film was built over it, it is also believable to some extent. The power lies not only within narrative suspense relief, but also in knowing who won.
