Images I used

http://www.stuff.co.nz/southland-times/photos/southern-images/4966757/Southern-images-May-2-14-2011

https://www.quora.com/Why-do-we-need-street-lights-throughout-the-night

These are Images i used for colouring my comics. I opened them as a smart image and then used the eye dropper tool to select appropriate colours. the first image I used to colour the autumn trees on the back and front cover. The second image I used to colour the nighttime effects and lighting.

This Image is a comic I made as a test, but did not include in the book however I cut out the first and 3rd panals and used them for my front and back cover. I Opened them and selected the box i wanted using the lasso tool. Then i clicked controll c, made the image invisible and clicked controll v. Pasting just the selected panel on a new layer. Then I deleted the layer with the rest of the image.

I isolate the lineart in the same manner I coloured the comics. I use the eraser tool to rub out the characters, who are not in my comic. Then I use the brush tool to continue the backgrounds.
 Then I colour.

Then I followed the same colouring process as I did with the other images.

Women without men, analysis

Essay question research.

How does the setting of Iran in the 1950's influence the struggle of the four female protagonists  in Shiran Neshats film, Women without men?

How is the trauma and rape scene in the film women without men directed by Shiran Neshat a metaphot for irans history.
How is The story of Iran paralleled in the story of the four women in Shiran Neshats film, Women Without Men.
How is the film, Women Without Men a feminist artwork?
How do the stories of the four central protagonists in Shiran Neshats film, women without men reflect the setting of 1950's Iran?

1 refined research question
2 body paragraph arguments and evidence. references quotes.
     3,4 arguments,
evidence must specifically relate.
3body paragraphs.
  1 argument, first paragraph. Whats the relevance of your evidence to your argument.
2 Evidence, quotes paraphrasing
3 explanation, analysis.
conclusion relates specifically to your question.

How is the sanctury and women violated by the arrival of the soldiers, is this related to the iranian political change.

How is the director Shiran Neshats feelings of displacemnt and exile related to the charactars trauma in woman without men

Zarin is the spiritual charactar in the film who never feels like she fits on the planet. 

removed from political reality

muniz is the political activist character. connected country and women story.

each character is a metaphor.

zarin, lower class, prostitute.

munis , traditional middle.

then upper class.

http://www.screeningthepast.com/2013/12/holding-a-mirror-to-iran-liminality-and-ambivalence-in-shirin-neshat%E2%80%99s-women-without-men/

Essay structure for arguments

quotations in speech marks "
citation at end of speech mark. last name and a year. APA.
If paraphrasing put the citation at the end of the sentence.
Quotes, direct Quotes. reference citation.
cutting off a sentence put "...titbit..."

argument
evidence
explanation analysis

All needs to be relevent.

In every paragraph and a concluding sentence that reinforces the relationship between the paragraph and 

no floating quotes.

quote is evidence for your argument.

quote is backing up and explaining.

Quote integration.

quote sandwich, break up quote. 

explain and integrate.

question. argument answers question.

Written argument, looking for evidence.

openheimer states....

Director oppenheimer says...

next time just say openheimer.

Academic, professor, why theyre qualified, relevence.

 States, believes asserts, explains, demonstrates,contends,

proposes, surmises, speculates, claims, argues

3 quality sources plus the film. 

1500 words not including quotes.

http://www.nybooks.com/daily/2010/05/14/women-without-men/
 Much clearer is Neshat’s decision to take the vaguely sketched backdrop of the novel’s intertwined stories and make the charged political atmosphere of 1953—during the summer of unrest leading to the Anglo-American engineered overthrow of the elected leader Mossadegh, a move fatal to Iran’s democratic future—one of the film’s major threads.

Women without men notes

Women Without Men depicts the struggles of four women against this backdrop of political tumult, as they each find themselves bound by various Iranian patriarchal institutions and power structures. Munis (Shabnam Tolouei), an aspiring activist, is virtually imprisoned in her home by her religious and conservative brother, Amir Khan (Essa Zahir). She listens to the radio, eager for some news into the fate of Prime Minister Mossadegh, while her brother rails against her for not yet marrying. Meanwhile Faezah (Pegah Ferydony), Munis’ rather naïve and pious friend, visits Munis amidst the street demonstrations in the hope of attracting the romantic attentions of Amir Khan. And then there is the character of Zarin (Orsi Toth), a prostitute in a Tehran brothel, who has withdrawn into a troubled silence as a result of her ongoing sexual exploitation. And finally, the narrative introduces Fakhri (Arita Shahrzad): a middle-aged woman who is unhappily married to a royalist General and who fantasies about leaving her husband and returning to a former and much more cosmopolitan romantic interest, Abbas (Bijan Daneshmand).

The film opens with Munis pacing the terrace roof of her home. Amir Khan has prohibited her from leaving the house and she can hear the tantalizing cries from the demonstrations in the streets below her. She steps up to the ledge of the roof and momentarily pauses, before jumping to her death. The opening scene of Munis’ suicide not only foreshadows the notion that paradise is a mythical ‘no-place’, a utopian fantasy, but it also establishes magical realism as a central aesthetic mode of the film. When Munis jumps from the roof ledge, there is a slow motion shot of the back of her head, her black hair billowing against the blue sky, as she is suspended mid-air. The call to prayer that was heard hauntingly in the background as she anxiously wandered the terrace rooftop, is abruptly replaced by an eerie silence once she jumps. There is a close-up of her face, beatific and resolute, as she falls gradually through the air. Munis is then heard, via voice-over, saying “Now I will have silence…and nothing”. Spectators never witness her body impact the ground, instead it is only her black chador, which crumples and flattens on the paving below, almost as if her body has vanished into the atmosphere mid-fall. The camera remains trained on the blue sky and the slow moving clouds after her jump. The scene of the sky then fades into a shot of the earth and a tributary with rapidly moving water. There is a brief moment, however, when both the sky and the earth appear in the same frame, the two opposing spheres temporarily aligned. In Neshat’s film there is no heavenly paradise awaiting Munis, only the suspended state of liminality. This indeterminate space is evoked literally through Munis’ floating form and, at a more subtle level, through the frame in which the image of the earth momentarily eclipses that of the sky. In pointing to this state of in-betweenness (in-between ‘heaven’ and ‘earth’, life and death, peace and turbulence), Neshat emphasizes a third state of ‘nothingness’. Magical realism, and its way of infusing the fantastical with the ordinary, is the perfect vehicle in which to evoke this fraught space of liminality.(1)



(1)Holding a Mirror to Iran: Liminality and Ambivalence in Shirin Neshat’s Women Without Men. (n.d.). Retrieved from http://www.screeningthepast.com/2013/12/holding-a-mirror-to-iran-liminality-and-ambivalence-in-shirin-neshat%E2%80%99s-women-without-men/ 

Introduction
Summaries move, 2 sentences to be elaborated on.
Definitions, key words explain about the cia coup.
If they dont know what something is.
Magical realism.
Islamic garden
Garden of eden,
define and reference.

Your own definitions.
Rationale, why is the topic of interest, The purpose of your question, why someone else would find something interesting. Your purpose in asking that question.

because most people remember Iran from after the 1979 Islamic revolution so the 1950s coup is interesting as it gives us a glimpse of a different Iran.

Argument, questioning, Your actual question
organisation of body paragraphs in order of body paragraphs.

End of intro.


"this film is as much about the lives of these four women as they too aim for an idea of freedom and democracy from their difficult lives for all different reasons as well as the country of Iran" 

Digital book

I finished my book. I looked to Tin tin comics for inspiration for the cover as they are an element of the story.
Herge, G. (1990). tintinintibet [cover]. Retrieved from /https://www.amazon.com/Tintin-Au-Tibet-French-Herge/dp/2203001194


For the inside covers I looked at books for inspiration. They often have imaginative designs in the front so I used a painting I made for it, it fits the characters as they are imaginative like the illustration.
The inside back cover shows other books in the series as is common in comic books.
The back cover has blurbs from readers as is common,.
I chose the title to attract peoples interest, remember the story continues as is common in comic books so readers will have to stay tuned to find out more about the invisible water tower, why is it invisible?
It also fits the theme of Alternative Southland. This is Southland if it was a comic and the best known landmark was invisible! The pyramid museum is still there but its not shown as my characters dont go to places that are closed, its a waste of time.


For the 3 prints I chose them based on appearance and how much time they took to make.
And the cover for context.

conclusion
remind them what your topic question was
this essay sought to proove that..
summerise your body paragraphs
reaffirming your whole esay crux.
important
 summarise your argument
main point from each body paragraph.
a couple of sentences.
no quotes
your findings
no new material at all.

I found that the orchard in woman without men did function as a sanctuary for this reason and this and this.
summarise answer to question.
I found that the charactars arcs in woman without men did function as a metaphor for the events happening in 1950s Iran.

Munis, listens to the radio despite her tyranical brother. He unplugs her only connection to the outside world.
faezeh then digs her up, alive and munis becomes the most political character.
death set her free to be political? is it still munis?

The garden is protective and healing.
The soldiers come and eat all the food.
then the singing happens and they listen, it is a last hurrah for the wealthy educated classes celebrating their culture.

Oddly enough, the one that is the most sinful [the prostitute] becomes the most spiritual. We have a saying, that the mystics, the dervishes in our Sufi tradition, are the people that suffer the most, and because they're so tortured, they turn into spiritual beings. Zarin, who is the most tortured, becomes the most spiritual and the most compassionate in the way that she impacts the other women's lives. It's her spirituality and otherworldliness that I like. The last thing, also, is that Zarin never speaks in the entire film, but you always understand her.
https://www.thestranger.com/seattle/on-women-without-men-qanda-with-shirin-neshat/Content?oid=4401220

Garden as a womb
Zarin is so much better, the garden blossoms. logic, let sopen it, hav a party invite people from tehran.
tree crashes down when they are planning what to wear to the party.

It was like the garden had no walls once they entered. So again, we were really playing with these paradoxical spaces; like heaven or like hell, but nothing that belonged to the earth. Maybe it was when Munis died, that was life after death; or maybe this is a place where all the women are dead. Until the army of guests comes in to the garden, which is like a rape. When Farrokhlagha decides to open it up to the people, things start crumbling down. The garden is betrayed by being opened to the outsiders, you know. 
https://filmmakermagazine.com/sundance_features/2010/01/women-without-men-s-shirin-neshat-by.html





Allah has promised to the believing men and the believing women gardens, beneath which rivers flow, to abide in them, and goodly dwellings in gardens of perpetual abode; and best of all is Allah's goodly pleasure; that is the grand achievement (Qur'an 9.72)http://corpus.quran.com/translation.jsp?chapter=9&verse=72

digital colouring.

The third and forth pages of my comics take place at nightime/ early eveninng.
This presented a colouring challenge. I decided to darken all the colours by a couple of shades including skin colour and hair.

I also made all the background s darkblues and purples. The result was this:

I used a lot of 2 tones to show light sources (the porch light, the light from the unseen scout hall).
here is just the colour layer, showing my process
.
I thought it still looked a bit bright and didn't accurately convey the dim look of nightime.
So I made a new layer on top of every other layer and set it to multiply.
I then used the rectangular marquee tool to select a panel and the brush tool to paint a transparent layer of nighttime blue on top. I then used the eraser tool, set to a soft setting to brighten up areas with a light source or where i wanted the characters faces to be more visible.

Below is the uncoloured drawing for the next page.

I did the same process for the next page but I made it even darker to covey that before it was dusk and night is quickly falling as it does in Southland. I like the muted tones in this page even more..

I was helped in this with my prior knowledge of lighting nighttime scenes with traditional media. I knew that using the usual colours with dark backgrounds would look artificial and all blues and whites would be monotonous and uninteresting to look at. the first and 5th panal look best below but I think the new pages are better and the darker shades are something I could have done easiest with digital. The new ones also look a lot more professional.



above I experimented with cool blues to shade everything, I present these as contrast as I think I have solved the problem of how to colour nighttime.