In her essay on Satayajit Ray's Pather Panchali (1955), Neepa Majumdar comments on how “visual strategies” can serve as a component for “indirect modes of narration” through the use of these visual techniques to tell stories through actions rather than words. The importance of the application of visual techniques forces the spectator to base his interpretation on what is shown to him through the mise-en-scène, allowing him to indirectly see the world from the perspective desired by the director. Majumdar then talks about “moving framing of single shots”, which in Pather Panchali is seen through the characters who speak, but are never shown. In conclusion, “event analysis” that happens is shown to viewers through a slightly distorted representation of a real reality. In Pather Panchali, Satyajit Ray uses these visual strategies and indirect modes of narration to convey his social analysis of India. In the scene where Abu and Durga first sight the train, Ray's social analysis of gender roles in India is best represented by his use of shot-reverse shot of Abu and Durga. This technique presents the lack of the two characters being shown together on screen, highlighting their individual actions while maintaining a relationship between them. Abu is seen running out of the puddles to blindly follow Durga, who is very cautious of her surroundings; this means that women are seen as more analytical, while men are seen as more willing to throw themselves into situations. However, later in the film, the brothers encounter a thunderstorm. Ray shows the weather only affecting nature in his opening shots of the scene to create suspense and leave the implication that while nature has an immediate impact on itself, the impact on children is... middle of paper.. .Although they are approached in different ways to make it much more of a Hollywood film, but still a work of art. This is also the kind of film that audiences my age are used to seeing, so approaching it in an analytical context was very interesting and meaningful when it came to experiencing the film in a different way. The interweaving of dreams gave the film a French New Wave essence with the film taking long shots within each dream the central group is in, but breaking continuity to maintain a connection between each member of the group stuck in a dream phase. Additionally, I noticed that as the party progressed through the dreams, each dream world became clearer, however, once the party falls into limbo, the lighting is dark and ominous, creating the mysterious atmosphere that makes the party linger films with wonder to the viewer. after the conclusion.