Oscar Pistorius really wants to go home, new developments tell it all

indafrica September 1, 2022
Updated 2022/09/01 at 6:47 PM

It’s clear that Oscar Pistorius is desperate to be let out of prison given the actions he’s taking right now.

On Valentine’s Day in 2013, neighbors of Oscar Pistorius’s home reported hearing gunfire. The incident occurred at the residence. Unfortunately, it was Oscar Pistorius who shot and killed his wife, Reeva Steenkamp, although many people believed it was a robbery.

In response to an appeal from the government, the Supreme Court of Appeal of South Africa increased the sentence by nine years, bringing the total to fifteen years in November of 2017.

After that, it was revealed that Oscar Pistorius will be able to apply for parole in the year 2022. As the final need for parole, Oscar Pistorius was transferred a few months ago from a prison in the province of Gauteng to a prison in the province of Eastern Cape so that he could meet with Reeva Steenkamp’s parents.

Oscar Pistorius really wants to go home,
Now that everything was finished, he was ready to be released, but the department of Correctional Services would not let him go.

It has recently come to light that Oscar Pistorius will be appearing in court to argue for his release on parole.

Pistorius submitted to the courts in a statement, “I humbly submit that I have done everything in my power to rehabilitate, to conduct myself in such a manner as to constantly comply with prison rules, and to show full contrition.”

Late in June of 2016, a broadcast of the first interview that convicted murderer and paralympian Oscar Pistorius had given since the death of his girlfriend Reeva Steenkamp in 2013 was made available to the public.

It is frequently referred to as a “interview” in the commentary provided by major media outlets, despite the fact that its title is “Oscar Pistorius: The Interview.”

On the other hand, it is structured like an investigative television program or documentary that is guided by a presenter and include multiple interviews with Pistorius, as well as interviews with other people and archival material.

After the show, Pistorius was accused of being dishonest and manipulative by viewers and commentators alike.

The way in which the program was filmed, edited, and structured all have an effect on how a viewer “reads” the piece. This “reading” involves determining whether or not Pistorius is serious and telling the truth.

An examination of the documentary’s structure reveals that it was created using a three-act format, continuity editing, and shots that were carefully prepared. The audience gets drawn into a story that is in part suspenseful, in part dramatic, and in part scandalous as a result of this.

a pair of artificial legs
When one watches the documentary, it becomes immediately apparent that multiple interviews with Pistorius were conducted in at least four distinct places.

It seems that each interview focuses on a different subject: a recounting of the events that transpired on the night that Reeva Steenkamp was murdered; views on the legal procedure; and specifics of Pistorius’s capabilities, both with and without the use of his prosthetic legs.

In the courtroom during the trial of Oscar Pistorius were Reeva Steenkamp’s parents, Barry (C) and June (C-L) Steenkamp, who are pictured above. Alon Skuy/EPA
The events of the evening of Steenkamp’s death are described by him in the interview that elicits the most strong feelings from him.

Pistorius breaks down into tears during this key interview as he describes the instant he realized that Steenkamp had passed away.
The scene, which occurs sometime about the middle of the documentary, is a classic example of the three-act structure that is common in both fictional and non-fictional films.

This so-called “midpoint” is intended to engage the viewer by providing a climax halfway through the piece; it draws the audience in. Its purpose is to keep the audience’s attention.

When looking at the cinematography and editing of this interview, there are a few aspects that jump out in particular. Pistorius may be seen from two different perspectives: one of them shows him from the side, almost in profile, and the other one shows him practically directly from the front.

The head-and-shoulders shot from the profile perspective can be either somewhat loose or relatively tight, but the close-up shot from the front viewpoint is relatively tight.

The background is slightly blurry in each of these shots, as well as the one taken by the investigative journalist Mark Williams-Thomas, who is conducting the interview, which directs the viewer’s attention to the faces of the two guys.

Crying Pistorius
The scene in which Pistorius is seen crying is captured from the frontal perspective in a very close-up shot.

Pistorius is framed in this program in a variety of different ways, but this particular one is the most personal. It is a type of composition that is typically utilized to bring the listener into a closer relationship with the topic.

Its purpose is to generate sympathy from the audience or to provide the impression that they have a close connection to the topic at hand or have special access to it.

The background of the primary interview with Pistorius is light. It consists of an off-white wall and windows with horizontal blinds that have been swiveled to let light through.

The Williams-Thomas background is far darker, and there is no detail that can be seen out. This indicates that they are competing forces that come at the subject matter from a variety of distinct perspectives.

When Williams-Thomas is presented on screen during the course of this interview, his expression is nearly always expressionless and occasionally even severe.

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