Years after this tragedy, during her teenage years, she and her brother discovered the young Air Nomad Avatar, Aang, who had been encased for one hundred years within a sphere of ice. As a young child, she lived a peaceful, merry life with her family's love, until she lost her mother in a Fire Nation raid. Katara was not only a Waterbender, but the last and only one capable of the art in her tribe. It’s not super important or anything, but it’s there.Marries Avatar Aang and has kids, later grandkids, and lives the rest of her life as an elderly woman Katara is a beautiful young female Waterbender, born and raised in the Southern Water Tribe by her grandmother, Kanna, alongside her big brother Sokka as well as the deuteragonist of Avatar: The Last Airbender and one of the supporting characters in The Legend of Korra. While there ar obviously exceptions to this sort of framing btween the three of them, the framing used in this episode for them still generally holds to this rule.Īnd finally, we do get a singular shot of Iroh and one of the jailers with Iroh being to the jailer’s right. Most notably of all, however, Piandao and his butler are usually screen right while Sokka is screen left, signifying the mentor-student relationship between Sokka and his instructor. While we don’t start off with that classic left-to-right screen movement, We do get a nice little moment of Katara being to Sokka’s right when she’s trying to make Sokka feel better. In this episode, we see a downtrodden Sokka seeking a way to improve his skills by becoming a student of Master Piandao, an expert swordsman and a member of the White Lotus. Sokka’s MasterĪnd finally, we come to Sokka’s Master. The Gaag remains screen right for the entire fight until the very end where they’re screen left, which could possibly be to make fr easier transition when the real Painted Lady is introduced since she is on Kataras right. In contrast, Katara switches from screen left to screen right. When the people running the factory come over, they start out screen right but are moved screen left once Katara makes her stand. The real change comes after Aang and Katara destroy the factory. Hoever, it should be noted that this particular episode starts out with some left-to-right-of-screen movement which helps establish the Gaang’s forward plot motion.įrom there, the camera framing is usually a mixed bag with the Gaang appearing either on the left or the right, with some of that left-to-right walking motion again. The first half of this episode doesn’t have a whole lot of lef-right framing, instead just doing whatever the storyboard artists felt flowed correctly. Of course, it’s a little more than just that, and the framing kind of helps establish Katara’s plot in this episode. We start with our kind of environmental message style episode which sees Katara and Aang destroying a factory and helping a small Fire Nation fishing village clean up its river. Today, we’ll be taking a look at “The Painted Lady” and “Sokka’s Master.” While they are technically filler episodes, they do use some of the left-right movement movement mechanisms we’ve been talking about throughout this series. Well, it’s time for another venture into left-right symbolism. Left-Right Symbolism in “The Painted Lady” and “Sokka’s Master”
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