in control. This complements the idea that society considers it a “macho” action for the man to be in c Conflict Styles ontrol. Still thinking under the mentality of a hormone-crazed teen, Lester feels good. It is important to note that Lester and Angela are not shown in the same shot during these actions. This implies disunity and an ironic separation because they are about to engage in the most intimate activity two humans can share with one another. It is also important to note, that during the crane shots, Angela is consistently given the higher position in the frame. This implies that she is pure and innocent because Conflict Styles  usually good elements are given the higher position over bad elements (such as heaven being in the sky and hell down under). As Lester is prepared to begin the sex act, Angela reveals that she is a virgin. It is at this point that Lester realizes what he is doing and stops. This shot is a dynamic shot with a crane. It is as if, by some divine intervention, Lester came to realize the error of his ways before it was too late. The scene concludes with a dynamic shot of Lester apologizing to Angela and, for the first time in this scene, they are scene in the same frame. This time, Lester is given the higher position in the frame. This symbolizes that he has come t Conflict Styles o a realization and is wise. The usage of lighting in this scene implies many symbolic meanings. Throughout the entire scene Angela is shot with light. For example, when the scene begins, Angela is laid down by Lester on a couch. Angela is wearing a white blouse, the couch she is lying on is white, and the light from outside is dimly shining on her, emphasizing the fact that she is wearing white. The light a Conflict Styles nd the color white represent purity: Angela is a virgin. On the other hand, Lester is shown with even less light. As the camera follows his hands erotically going up and down Angela’s body; Lester’s hands are given the least amount light possible in order to emphasize the impurit Conflict Styles y aspect of what he is doing. The lighting in this scene is low contrast and low key. It is low contrast because the light used was dim and was rather gray. This implies a sense of mystery because the audience knows that Carolyn is on the way to the house to kill Lester. Also, the audience is unsure if Lester is going to go through with having sex with Angela. It is low key because both Angela’s and Lester’s shadows can be seen. Editing is very significant in this scene. Decoupage is used throughout this scene. Decoupage implies that there will be fast-paced cutting. This is abs Conflict Styles olutely necessary in this scene in order to add to the excitement of the scene. Angela and Lester are at the point of no return. It is not clear what is going to happen. Fast paced cutting accelerates the speed of the scene, as almost to provide the audience with excitement. In this case, the kind of excitement that a teenage boy, or Lester, in this case, would feel before having sex. However, unlike the previous scene, this scene uses an ellipsis. This takes place when Lester is rubbing his hands around Angela’s thighs. The scene cuts to Jane and Ricky. Both of them are about to run away to New York. The ellipsis occurs to show the audience what has caused Jane to do this. Lester never paid attention to Jane. Instead, he focused on her friend. All Jane wanted was attention from her dad, but Lester was preoccupied with being irresponsible and chasing a girl. The scene then switches back to Angela and Lester. It is important to n Conflict Styles ote that Angela and Lester are never shot in the same frame while sex is still a possibility between the both of them. Instead, they are shot in a shot-reverse-shot fashion. When Lester realizes the error he has made, Conflict Styles  both of them are shot in the same frame as a two-shot showing unity and resolution over the dilemma. Sound is used heavily in this scene. As the scene begins non-diegetic sound is used. This sou>