Cattle Market

• This scene begins inside the 'marketing centre' where the animals are being auctioned off to the middle class men in the room.
• The eyeline match / POV shots from Ree shows in MCU + LS the homogenous men with no individuality, taken from her position behind the bars (spectatorship = barriers)
• This composition reflects the segregation of men and women in the Ozark, women are prevented from these 'masculine' activities like bidding on cattle
• The camera cuts to the men's POV, looking down on Ree in a LS. This shot makes her appear inferior to them and out of place in their world.
• There is the diegetic sound of cows and bid callings alongside cross cuttings between the cows and sheep in montage style: creating a tumultuous, unsettling environment - again the spectator misaligned with Ozark men, and even more aligned with the animals.
• Mis en scene: the cows are at the expense of the men who own them: they are helpless and innocent much like Ree / the women in the ozark. /
• Camera follows Ree's gaze, finding Thump as he leaves once he has noticed her: avoidance.
• Granik uses expressionistic colour (cold dark blue tones) to replicate the cold winter, emphasising the bleakness of the film.
• The diegetic / pleonastic mooing emulates distress + Ree's panicked and desperate calls of 'thump milton!' and the audiences positioning with them creates this panicked environment, awaiting our fate.
• Cross cutting between HA shots from Ree's position and the ELS from Thump (diegetic mumbling (Stantons 2+2 theory) of her voice revealing he can hear her, but is choosing to ignore: distrust with Thump
• Non-diegetic track growing in volume + pleonastic mooing + cross cutting between Ree running and the cows aligns her with them, she is running with the herd implying that to thump, Ree is just as insignificant as the animals.
• This additionally places woman as just as insignificant as animals.
• A non-diegetic composed score rises in the mix, adding to the chaos. Ree’s voice has been taken from her.
• There is an isolated MS shot of a calf in distress, and like Ree, it isn’t heard.
• The handheld MS, camera tracking Ree, performance with purposeful walk, again, the pleonastic diegetic distress from the animals (dogs) mirrors the chaos / disturbance of the situation.
• Mirab approaches Ree, the amplified, pleonastic sound of the tea hitting Ree in the face, and her distressed ‘AHH!’, before being smacked around the face with the cup enhances the violence and shock of the scene.
• This portrayal of female violence subverts audience expectations since there has been a level of collectiveness with the women despite their oppositions so far, there is a level of realism since the men cannot beat up the women.
• Fast paced attack with handheld camera increases the chaos and submits the viewer into it as an attacker
• Realism / dark fairtytale - our hero meets villain
• LS of the garage door closing whilst Ree screams are still heard + the diegetic thunder emphasises the brutality
• Our spatial temporal alignment is broken: creating distress, fear and tensoon
•  POV shots as Ree gains consciousness, special temporal alignment again, LA shots of the crowd surrounding her. Audience gains subjective access through shallow focus CU’s: the mis-en-scene of farming equipment that has connotations of torture further helps our mind fill the empty space with possibilities.
• We regain a trust in the female solidarity through Mirabs 'you was warned, why didn't you listen.' and 'what are we ever going to do with you baby girl'
•  SRS between Mirab and other girl – sense of disappointment and sadness from what they have had to do, possibly fear for Ree in terms of what the MEN are going to do with her. ‘kill me… that ideas been said already, got any others’ did they fight that idea off? Why did it not go through. Ree’s slurred speech implies she is still not fully conscious = tough beating up.
• LA MS of thump – dominant, threatening character, he inspects the womans work
• ‘I ain’t gone stand here and neck it when that mf comes’ reaction to teardrops arrival, here is the opposing dominant character.  
• ELS dialogue of reassurance of ‘she was warned’, 2+2 theory shows another rule = attacks cannot be uncalled for. Rules of the Ozark under capitalism?
• Rules of the ozark: ‘no man has touched that crazy girl’ another rule. Worst / more of a threat for men to attack girls.
• Neo-western standoff!
• Men own women – ‘she does wrong, you put it on me’, to the men in the community women don’t hold any value.

  There are clear values and expectations in the Ozark community, these SOCIETAL CODES.
• Spectatorship: Oppositional readying/ patriarchal reading = Ree was not shown being beaten up because she is a woman – this violence is less accepted in the media / film industry.
• Spectatorship: Our allegiance changes as we see teardrop in a different light than previous TD scene, he comes and saves Ree rather than being a threatening abuser. Subjective access – Murray Smith theory.
• Whilst Ree’s actions are those of a film noir hero, her motivations are not – she does everything for her family.