Moving Image (TV Drama)

Monarch of the Glen Clip Analysis: Representation of Age:

Throughout this clip from the Scottish drama, the aspect of age is of a subject that is vastly documented, as we have a magnitude of characters that are all classically presented through the stereotype of their specific age.

Amy McDougall (The Young Girl):  Amy McDougall is a young teen who is instantly at odds with the local society of heavily dominated males. It is clear that not only does she feel out of place, but most certainly uncomfortable with her status and position of power that she holds in the grounds of the manor. The fact of the great awkwardness that the audience gets to digest is begun through the simple choice of her clothing. While the majority of characters are seen heavily dressed in dark brown and green (darker colours purposefully highlighting age), Amy is seen in bright blue jeans and a yellow top as she stands against the backdrop of a dark grey wall. The bright primary colours of which the young Amy is wearing connotes a sense of childish innocence, this is done so as to illuminate her young age, especially as the dark wall of the manor contrast nicely to a much more mature setting.

Her young age is exemplified even further through the use of Mise in Scene. As Amy starts to string a conversation with the two males in the scene, we see that she is highly uncomfortable with communicating with the opposite sex, she seeming to have a strong silly childish quality. This is also supported by the fact of how not only are all her legs closed together, but her arms are tightly crossed resembling a sign of reassurance. Yet the director makes it a priority to use a series of over the shoulder shots as she is in conversation with her uncle Paul. This point of Mise in Scene is used so as to again backup the fact of the minor amount of power and the general awkwardness of which Amy McDougall must endure through the mature highlands of which she seems so preoccupied in.

The scene goes on as to Amy insisting that she can drive her uncle’s car. The uncle is weary on this decision and is reluctant to agree, yet with the quality of any child that has the chance to gain a piece of power; Amy pushes the parental figure into getting what she wants. Amy does not know how to drive a car and has childishly lied to her uncle saying that she can do so. The next scene is quick to transition to Amy struggling in the driver’s seat, fiddling with the gears, the immaturity being illuminated by a growing close up into her worried face. The simple use of this specific camera angle being used encapsulates her young age and how she is doing the things of what young people are stereotypically known for doing, in this case lying and driving cars.

The diegenic sound of car horns and a crash indicate that Amy has suffered the price of lying and has crashed the car into another. A long angle shot helps to convey the serious consequences of her actions as a rising cloud of smoke ascends from the crumpled bonnets of both cars. Coincidently the car she has crashed into belongs to her headmaster.

The Headmaster: the head teacher in Monarch symbolises the undisputed stubborn spuriousness of the older generation. When Amy crashes into his car and he steps out of his car, we are given a clear long angle shot of the powerfully clichéd figure of the headmaster. He is seen in a dull cardigan, trousers and a tweed blazer- this ordinary smart clothing initiates a sense of dull predictability. The tweed blazer he wars connotes a sense of sternness, a man who is ready for the office (the tweed to be of an old pattern, emphasising even more on his age. I can also not help but think that the tweed is very similar to the pattern tartan, a distinguished Scottish pattern that clicks in nicely with the mood and setting). His body language is stiff and uptight, instantly challenging his inpatient persona to the audience in an instant. To make sure that we, as an audience, are aware of this his first lines are

“Amy McDougal! I might have known!”

This instantly tells the audience of how because he is an older character, he is instinctively seen as angry and bossy, true to the correct stereotypes of an old man or a head teacher.

Dominance can also be seen through the head teacher, as when the younger male, uncle Paul, finds out about the crash, he at once apologies for the chaos that was caused by his young niece, and feels the need to invite the headmaster for a drink of brandy, backing down to reveal to the audience just where the exact power lies on when it comes to the idea of age in this clip. The headmaster is even clear to remind Paul that it is Brandy that he desires. The reference and the actual drinking of this strong alcoholic beverage as the two are cast in mid shot drinking together signifies that one has to be of a cretin older age to be able to adapt to laws, i.e.- drinking when your an adult, and not driving when you’re a teen. Yet in my opinion the headmaster is seen as an even more powerful figure as he drinks the brandy, putting him another place over the young character of Amy.

Paul (The Uncle): Paul is the parental figure of this clip; he looks after Amy and always has her safety in mind, examples being him being unsure whether he should trust her with the task of driving a car. Yet being the midpoint of the vast age range, he seems defensive on the amount of dominance he has. Yet he seems to carry this dominance as when he is telling of Amy for lying to him about driving the car. The scene is told through the constant switch of over the shoulder shots to help illustrate the power Paul has over Amy (making Amy look small, in comparison to the tall frame of Paul). This leads for Amy to break down in a fit of tears screaming “I hate you!” before hiding in her pink oppressed bedroom. All the following acts reveal her true childish personality, the pink bedspread and teddy bears found in her bedroom being a good analogy on how she doesn’t fit with the murky moors of the glens.

The extras: age is even viewed in a brief scene with two extras. One is a an old generously proportioned man handing logs to a tall skinny man with a pony tail who is on a wagon lifting those logs with far less difficulty than the man below him. The simple use of levels represents the hierarchy of age and the advantages that come with youth (for example strength).

Conclusion: the representation of age is an element that is vital in the needs of telling this story, how it not only supports the characters through the narrative, but also helps to establish on whom the characters are actually seen to be.

Z.L  13/09/13

 

EDITING: What is it:

Editing Definition: To modify, improve, and adapt so as a to make a piece of  work suitable, acceptable, or mainly far more superior than the previous version of a creative piece of work; such as Film, TV, or any other form of Video production.

Editing Terms:

Cut: A visual transition with the thanks of editing in which a shot of a scene is at once replaced with its successor.

Continuing Editing: This type of editing helps an actions scenes flow smoothly and fluidly, such as a western horse chase, where there are no inconveniences or inconsistency's such as the bumping of the camera as it try's to keep up with the two horses. This form of editing also helps to drive the story, plot and narrative onwards.

Cross Cutting: Cutting back and forth quickly between two or more lines of action, indicating they are happening simultaneously.

Dissolve: A gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one.

Errors of Continuity: Disruptions in the flow of a scene, such as a failure to match action or the placement of props across shots.

Establishing Shot: A shot, normally taken from a great distance or from a "bird's eye view," that establishes where the action is about to occur.

 Eyeline Match: The matching of eyelines between two or more characters. For example, if Sam looks to the right in shot A, Jean will look to the left in shot B. This establishes a relationship of proximity and continuity.

       

Fade: A visual transition between shots or scenes that appears on screen as a brief interval with no picture. The editor fades one shot to black and then fades in the next. Often used to indicate a change in time and place.

Final Cut:The finished edit of a film, approved by the director and the producer. This is what the audience sees.

Iris: Visible on screen as a circle closing down over or opening up on a shot. Seldom used in contemporary film, but common during the silent era of Hollywood films.

Jump Cut: A cut that creates a lack of continuity by leaving out parts of the action.

Matched Cut: A cut joining two shots whose compositional elements match, helping to establish strong continuity of action.

Montage: Scenes whose emotional impact and visual design are achieved through the editing together of many brief shots. The shower scene from Psycho is an example of montage editing.

Rough Cut: The editor's first pass at assembling the shots into a film, before tightening and polishing occurs.

Sequence Shot: A long take that extends for an entire scene or sequence. It is composed of only one shot with no editing.

Shot Reverse Shot: Used for conversation scenes, this technique alternates between over-the-shoulder shots showing each character speaking.

Wipe: Visible on screen as a bar travelling across the frame pushing one shot off and pulling the next shot into place. Rarely used in contemporary film, but common in films from the 1930s and 1940s.

 

Media Terminology Glossary:

TV Drama: A one of special or series of dramatic fictional programing that is broadcasted on every TV. A TV drama will normally focus one certain themes and genres throughout its programing, this could be a murder mystery such as Poriot or a series of chronological events in a series such as Batman or The sopranos. Distinguished TV Dramas include SHERLOCK, Doctor Who, Downton Abbey and Game of Thrones.

Well respected TV Drama.

Representation: The way in which things, objects, or places are presented or seen through the viewer of a type of media (A Film, TV show, etc.) manly representation is seen through the actors, there genders, age, mannerisms, status, race. Usually representations fall under stereotyping where the characters that the actors bring forth are clearer to the audience whoa reviewing the performance.

 

A knife can be represented as something as a weapon, an object that is represented through death and despair. yet on the other hand it can simply be something to cut up vegetables for dinner with.

Mediation/ Mediated: When we see a piece of media, where we do not relate to our views but the vision of what the director/ producer wanted us to. An example being that we could watch a film where a villain dies; we could either feel glad that the villain is dead for he might have done some terrible things in the story, or we can feel a slight sense of pity for the character believed for what he thought was right. This completely up to the choice and views of the director and producer, and what they feel is a more appropriate image to help tell the story.

 

James Bond is a prime example of  how much views can be varied. On one hand he drinks, smokes, gambles and kills, yet he can bee seen as a role model for school boys.

Stereotype: The way on how a character or portrayal is typically or classically seen so as to help amplify their performance. For example, if the actor was supposed to be an old granddad, the director might choose for him to have a hunch, grey hair, and a walking stick to help signify his age. We are aware of common stereotypes, and sometimes by using them, they can create a sense of hilarity but may also cause an offence; examples being that boys love football and the colour blue, while girls love the colour pink and hate football, which isn’t necessarily the case.

 

Stereotypically Grandpa Simpson is an old character, so therefore he is stereotypically seen as silly, foolish, as well as even useless.

Mediation/ Mediated: Different forms of status of class that dominate. For example the higher class might be the top of the hierarchy of power and dominance for they are most likely to have a greater amount of wealth over the other lower classes.

Ideology: The ideas behind a media text, the secret (or sometimes not-so secret) agenda of its producers. It is important to be able to identify the different ideological discourses that may be present in even an apparently simple photograph.

Semiotics: Is the study of signs. Signs tell us many different things depending on that certain sign. The basic examples would be that a smiley face would translate as a sign of happiness and peace, whereas angry face would translate the complete opposite.

 

A classic sign to tell a driver that there  is building work going on about the following road (yet this sign has also been mistaken for a man struggling with his umbrella in the wind).

Connotation: connotations are simple to understand. The denotation of the dog is what we see, so it would have hair, four legs and a tongue. However the denotation of a noun or verb is what we associate with that. So the connotation of a dog would be a loyal family pet who is man’s best friend. This may not necessarily be true, but it is what the typical average audience would associate with this animal.

The lions denotations are a dangerous animal, yet its connotations are of a humble brave leader (an example being Narnia or The Lion King).

Signifies: To convey through signs, speech or action. What something means.

 

The sun can be seen as a symbol of hope and happiness. 

Signifier: A person or thing that signifies.

Iconic: Signifier resembles the signified. A literal representation.

Indexical: Doesn’t resemble the signified, but linked in a literal way – Smoke = fire, ect.

Symbolic: Does not resemble the signified but with connotations, such as a crow symbolising death.

Binary Opposites: The Opposites are used to generate interest in the media – Good/Bad, Black/White.

Mode of Address: The way media talks to the audience.

Anchoring: Keeping something firmly in place.

Conventions: A way that something is usually done. an example being having a beginning, middle and end to a story.

 

 

SOUND AND MEANING:

Sound is a crucial element to any film/ TV drama. It is the backbone to help aiding as well as supporting s a story and its narration; it can help to emphasise themes, or to even tell personalised stories on their own, depending on the our representation on that media.

There are two main types of sound:

Diegetic- Sound that is seen from the film/drama that is part of the story, examples being a car horn, or the actors talking. soudn that is isndie the story world.

Non-Diegetic- when the sound is from outside the story yet helps to establish it, examples being voice overs, soundtracks or other pieces of music. sound that is out of the story and can not be herd from the charecters.

The four aspecst of meaning that can be genrated throguh sound:
- Charecter = That type of charcter, how he or she is good or bad, as well as genarally represented.

- Genre = Reveal the genre of the drama, it coloud be serios or comical, this scene might be helepd witht eh change of tone, pace and tempo from a sountrack of Non-Digetic sound.

- Setting
- Narrative: Bridging a scene can help to again establish a scene, thus helping to carry throught the narrative, driving the story onwards, an example being the transition of somone talking (diegetic) to the sound of live music and talking (non diegetic) to help convey to the audience that the enxt scene takes place in a bar.

Here is a clip Arrow of which there are many examples of sound:

http://www.youtube.com/watch?feature=player_embedded&v=hzekxYS4eh4

Sound Analysis: Arrow:

The clip that I will be analysing and subtracting the specifics of sounds in television, is the American drama ‘Arrow’ the telling of a trained superhero armed with a bow and arrow as he fight crime, and defends the good, all in the name of justice.

The scene begins with a soundtrack (that is Non diegetic) that helps to accomplish the seriousness of the mood as the two actors begin to walk towards a woods. At first the sound track starts of slow, yet as the characters go closer to the woods, the tempo begins to increase its pace, as is the volume begins to heighten so as to revealing that idea that bad consequences are soon to come. Yet the average viewer watching the drama does not take care to listen to the sound too much, as he or she are listening closely to the dialogue. With diegetic sound of them talking however, not only does it reveal a close friendship between the pair with the relaxed formal language, but also on how it gains the attention of the viewer, them  not really taking in the music. However once they top, all attention is now on this rising sound, creating the idea of mystery and uneasiness now growing louder into a might crescendo until it ceases to mark the moment of the abstract scene of a mask with an arrow sticking through it. The silence as the shot finally reaches the arrow through the mask, marks the presences of the main hero, as well as that the mask (of which we assume was normally worn by someone) is now on a beach with an arrow sticking through it, suggesting the fact that the past wearer is now dead, the sudden silence helping to imply this point.

The setting is now changed to the deep depths of the woods of which the non-diegetic soundtrack that featured in the begging of the last scene, suddenly changes to a low flat note, revealing a dismissiveness towards the past owner of the mask as though he is not too important for the characters to notices him. The soundtrack now re-begins to its quiet self, this time the tempo being much more lengthened, I believing that this was done for two reasons; one reason is to help establish the classic mysterious and spooky setting with the woods (first the arrow through the mask revealing death, and now a spooky woods, aided with a means of jerky high angled shots of the camera). The other reason was to help create an idea of uneasiness so as to make the audience fear the fate of the characters.

Supporting that following assumption on the use of non-diegetic, the couple immediate halt, as a click interrupts the quite music. He abrupt interruption of the music makes the audience e weary that something has gone wrong and not to plan, and therefore we feel that we are almost a part of the story. The sound of this diegetic sound is small and only last for a second, yet editing has helped so as for the sound of that small significant click can be herd through the audience so as tor realise that bad consequences are to come, just a prophesised by the soundtrack as well as the arrow through the mask. The female charter (being the typical damsel in distress) has done something foolish and dangerous by steeping on a hidden mine on the ground, as once the male figure show that he has acknowledge the small click just as the audience for he turns round an examines the situation, he currently being the dominant figure in the scene. Now the dramatic soundtrack begins once, more as it elects to rise so as to increase a tight pressure of success or failure on disarming the mien. The diegetic sound of the couple talking now suddenly becomes whispered, despite them both being alone together, yet the whispering highlights the danger and trouble that both of them are in as both lives are now at risk. The male suggest that he should somehow try to dismantle the bomb with a Swiss army knife; as the knife get closer so does the crescendo element of the music, again greatly helping to add tension.

Yet he is stopped as the introduction of the hero, Oliver Queen, is seen as he shouts his first piece of dialect through ‘Stop’. He is seen standing on the branches of a particular large tree, ye this sudden order surprises the audience as well as tells us that Green Arrow, the hero is in control. A drum roll begins as he set to work of saving the day as the non-diegetic sound changes to the tremendous beatings of drums, almost like a drum roll for circus performers so as to not only gain the attention of the audience, but so as to also imply that not everything could go to plan, as there is the possibility that Oliver might fall as well as not save the girl in time. As the drums increase with volume, Green arrow shooting his arrow into a nearby tree similar to the way on how a harpoon might work (this is helped with the sound of the flying of the metal and a satisfying crunch as it has landed its precise target). The drum roll continues as well as the pitch getting higher, as the brave hero swoops down upon the girl, leaving a large explosion of dust and dirt behind him. The heavy sound of the explosion, helping to signify the heroic act of which has just been seen as well as telling the audience that the saving of the girl was a successes from mortal danger.

School TV Drama Clip Analysis: 90210, Season 7, Episode 1:

Synopsis of Clip: two girls at school begin to form a dissection, of then one girl catches her friend trying to conceal the drug cocaine (of which she appears to have been a past user of the addiction) she feebly tries to explain herself for her disgrace, yet as she is doing so, a drug search commences throughout the school. The two panic, and nobody her friend offers to conceal the drug for her. She takes it and runs into a nearby bathroom of which she rids the cocaine off her by flushing the drug down the loo.

Analysis:

The scene begins with a mid-shot, tilted towards the left so that the audience has a clear perspective of the occupied surrounding and setting of school pupils rushing to their lessons. Along with this mid shot we also get to see the two main characters as Adriana, causally walks towards her friend, who is too preoccupied with her refelction in the locker, to notices her friend. Adriana is dressed in a white blouse, while her friends is dressed in a light yellow skirt, highlighting each characters supposed innocence and purity (of which the audience know that they are both not). The first thing that Adriana says is ‘I waited for you’ this immediately illuminates the fact on how her friend, molly, is the dominant one in not just the escapes of which the audience does not see but also in the conversation, as Molly takes her time to answer, not seeing any rush, nor any need to apologise for the inconvenience. Molly foes on to change the topic by relentless telling her friend of her success of winning a part in the school play, as she speedily says this in a quick and fats tempo, not only do gain a clear signs of a confident characterisation of that character, this being supported by the stiff and uptight body language, as in contrast to Adriana whom is slumped, clutching her folder between the two so as to reveal the levels of power through just the simple medium of body language alone.

The colloquial dialects is exchanged slightly further on until, Adrianna spots a capsule of cocaine, that is placed inside Molly’s locker. The camera focuses on Adriana’s eyes as she gazes at the locker, almost building a sense of anticipation, as then the camera dramatically pans into the ambiguous capsule, dramatically suggesting that the capsule is bad. By the indication of the sudden zoom, the abnormality of this action (as compared to average mid-shots of which was previously used) we are now immediately on the side of Adrianna, as we know that the capsule is wrong as well as the drugs being amoral.

A few protests are exchanged between the two friends, when suddenly molly slams the locker with frustrations and begins to storm off from the opposite directions, conveying the fact that she has lost the argument, as well as suggesting that the levels of power have now changed between the two character, Adriana being the investigator while moly is the investigate. By the simple of fact that she chooses to run purely implores her guiltiness, as this action can be associates with convicts or criminals such as robbers or thief’s who normally seen running from a crime (in this case, the crime being lying to her friends of which she promised that she would never take drugs).

Yet the shouting and arguing is cut short by a sudden swivel of the camera, as the director has now chosen to focus on a more pressing issue of the police searching the school for any signs of illegal substances. To prove the ruefulness of the police force, some men are even equipped with dogs. The camera is on a dolly as it the director has chosen to move the camera across the corridor and towards the approaching dogs, whom grow and bark often. With the use of the diegetic sound of the barking reveals the shear ferocity, brutishness and scariness of the dogs, making the immoral situation far more amoral when the fear factor such as large dogs, is implied in the situation.

The two girls see the police and now become immediately close, untitled as one in the panic, there close and tight body language reveals the sudden seriousness of the situation. Adrianna offers to take the capsule and get rid of it, risking potential expulsion from the school. The two speak in quick hushed whispers of disagreeing with each other on what to do, the camera focus on one face, as well as flipping to the other, intensifying the climax of the scene. Then it is now the guilty Adriana whom is on the run as she runs into a toilet the barking getting louder, almost hinting towards the audience of the foreshadows and how she will get caught, just as her friend had as she flushes the cocaine down the toilet of a cubical, the camera panning towards the whiteness being washed by the water. As white is seen as a pure colour, the fact that the white is being flushed down the loo signifies the fact on how innocence and purity is being washed away from the two females themselves.

The Representation Of Disability:

90210 Clip: Recreation:

90210 recreation clip. from Sophie Boston on Vimeo.

Gender representation from wmorris

Primeval Clip: The Representation of Gender:

Throughout this clip, gender is a prime theme that runs throughout this passage. Not only are we given stereotypes, but there are also signs of role reversal which tests the viewer’s opinion on whether both sexes maintain an equality.

In the firsts scene the audience are given a mid-shot as the audience sees a man running to a pull a woman towards his direction, so that he is facing her. This simple actions already conveys a sense of power and dominance of which is typically seen from a male figure. The male is displayed in a blue T-shirt; not only is this a stereotypical colour that is associated with the male gender, yet because it is a T-shirt, it can be seen that the director chose him to wear this specific type of clothing to highlight the males biceps- this not only drawing in the general female audience but also reflects the males power and authority. Especially since we have just seen him take control of a conversation by forcing a woman to look at him. This action seeming almost childlike, the way on how a farther might act when telling off his child, this againrevealing the hierarchy in the current sexes. In the next shot, the camera man has given us an over the shoulder shot, displaying he woman closely for the first time. She has long hair, red lipstick, and a red blouse; all of these colours helping to encapsulate a stereotypical perspective of the female genre. The frequent colour scarlet that appears on this colour, not only connoting love and lust, but also suggests a romantic relationship between the apparent powerful male that she is talking to.

The over the shoulder shot illuminates how tall the male really is as opposed to the female looking up at him; this use of levels symbolising the power between the two after a second of two of actually seeing the woman she storms away into a car- a rather childlike tantrum which suggests a lack of maturity and thus power in the conversations, this possibly suggested on how far she lies in a classic female perspective, as to the tall authroitve man dressed in blue. Overall in this scene the screen time is dominated by the male, the viewer hardly catching time of the female. This manipulation of time evokes how the authroitve figures are male and how they are more important than female characters. This is supported by the close-up shot of the man, as he walks away from the girl, suggesting that she holds little threat over him due to her gender.

Yet in the next scene, the viewer is given this  so far established representation of disability to a different turn, as it appears that the role sin power have reversed. Non digestic sound   at once appears a second or two before the change of the scene, almost to keep the viewer on guard for what is to come. The non digestic sound, now turns to diegetic as a panning shot reveals a large yellow digger moving towards the side of the camera. The digger appears tank-like, as it moves amongst a rural setting of a forest. Yet the panning reaches the point for when the audience finally sees that a woman is driving this digger. This seems a surprise for it is assumed that it is a male, and certainly not a female who would be doing this task, our surprise spouting form the clues that the director had chosen to leave behind including; the digger that creates such a loud and brutal noise that is not considered ‘lady-like’ as well as a digger not only being an object of destruction that is associated with the tastes of a male audience, but that the digger is yellow, connoting further danger and urgency, which again leads towards a male boundary. The woman has short hair, wearing a black leather jacket, all of these being rather masculine and butch; already the audience understands were the power lies, not only she being a rather masculine apparent woman, yet she is also in charge of an object purposeful made for destructing, as well as the fact that because she is controlling this device, she placed high-up, which again insinuates her high level of power.

The viewer of this clip now sees the first male in the scene. He is crouched down amongst the muddy earth, with a hat and a pink t-shirt. As to mise-en-scene, the audience is given a rather feminine like quality to the male figure, and is demoralised even further when a jump cut is placed to see the quick movement of the digger moving forwards, seeming to be at ease and comfort with her work- a type of labour that is only seen appropriate for males, yet because she is female, the clip challenges our perspective to as whether we see both genders through an equal light. A close up shot reveals the digger effortlessly scooping out a mound full of earth, encapsulating the power of the female figure.

The viewer now sees the male that they saw at the begging of the clip. He is wearing the same blue-shirt, suggesting a masculine authority, yet the shirt is heavily stained with mud, suggesting that perhaps that lack of authority is absent as to him being in the same scene with the authroitve female in the digger. The proxemics of the two also suggest on how the female continues to maintain power over the male. He being on the floor, while she is high up and clean from within the digger. Frequent jump cutting is seen as the male calls for help for the female, the choice of editing helping to build tension for the viewer, implying that a threat or danger is soon to appear in the scene.

As the tiger runs towards the man, we get an over the shouldershot of the actual beast, implying that the creature is the one with the most power. The man, fearing of his safety, jumps down a pit for protection, he being defenceless thus he has lost total amounts of power. Yet the mid shot sees the female bravely gaining the attention of the beast. The long shot, allows the viewer to fully bask in the courage’s actions of the female as she battles with the beast through the digger. Yet even these violent actions of the digger, which are seen as very masculine, prove on how the woman in this clip can hold her own, defending not just herself but a so called ‘powerful’ male all the same. The screen time is now focus upon the battle between the female and the best, highlighting the power in not just the story but the influence that is being shown to the audience. The digetic sound of the tiger roaring, intensifies the fear that the audience will be experiencing, as it seems a struggle to fight the beast. Yet because the female is coping with this challenge, the viewer now recognises her authority. The audience is again given continuous jump-cutting to intensify the situation.

The next scene moves on to the male, having escaped the pit, is running for his life, the tiger close behind him. A high angle shot reveals the man running towards a tree. Yet the shot, as such distance, allows the audience to appreciate the natural setting of this forest, suggesting an almost unsettling place, where no help is available to the now desperate male. As the man climbs up the ladder we see a mid-shot o him taking the firsts steps, looking down quickly suggesting a nervous and thus powerless persona. A mid-shot of the tiger sees the creature clawing at the tree. With the use of the same camera shot, the camera man has purposefully done this so as to say that both man and beast are equal- stripping the man of any further power. The mid shot of the tiger allows the viewer to see the large teeth, which further highlights the severe danger that the man is in.

Editing is seen as it is not shown the man take the full journey to climbing the steps, suggesting how much of a rush and hurry he is in. a long shot is followed of the trees around him, illuminating a danger of falling. To escape the man must take of his belt and use it to rap around wire to slide down. Yet because a belt is used so as to hold trousers around a waste, this specific object seems a bit comical in such a stressful situation. This act can thus be seen as humiliating and demoralising toward the male gender, and thus the character can lose all seriousness and authority toward audiences. As the man slides down to ground, the viewer is given frequent point of view shots, so as to welcome an audience member to emphasise with the man. Yet because this specific shot welcomes the idea of emphasising with this character with first person shots, it can evokepity of this powerless male figure- this being a role reversal as we have fully seen the powerful male changed into a victim, needing to defended by a female carrying a riffle. A masculine object that belongs to a woman just as masculine- the full circle of gender reversals now being complete.

Doctor Who: Representation of Gender:

By Zak Labiad:

Through this clip it is debateable as to where the power lies in both genders. Generally we see the men in control, they being seen as violent, cruel, and malicious. Whereas women in this clip are split between a radical and conservative viewpoint- it being debatable as to where this gender lies in position of hierarchy.

At first we are given a close-up shot of the villain, The Master. This is the very first shot that the audience is given, already establishing his genders power. Through Mise-en-Scene the viewer can see him dressed in a smart black suit, with shirt and tie, suggesting wealth and thus power- this helping to encapsulate the typical dominance that always seems to follow through the male gender.

The audience is given a canted shot. By this we see the Master on a podium. The stairs that lead up to the male are set with small blue lights, revealing an omnipotent image for this villain as the proxemics suggest a high level of power, as seen by how tall he appears- the director haven chosen this particular angle for this specific reason. The audience may also see two props poisoned under the lower level under the master- these being a clock and a globe. This could be interpreted by a viewer that the clock and the globe represent both time and property, these being very hard things to own and have control of. Yet because they are seen under the master, in the very same scene, it can be suggested that The master has control over both of these- especially since the audience has already established the males power, the props supporting this to a further extent.

As the scene cuts between a mid-shot of the female Martha, there is a clear contrast in lighting. When the audience firsts aw the master, bright lighting was seen, reflecting the males powerful persona. Yet as the viewer sees Martha, she appears to be emerging from dark tunnel, reflecting her lack of power, encapsulating the lack of power that follows in every representation of the female gender. Martha is handcuffed walking to the master, already representing the character as an obbiding suppliant to the male gender. Through Mise-en-scene, the viewer sees that she too is dressed and black, yet she appears in a less privileged costume as her Male superior, again reflecting where the hierarchy of genders stands in this clip. This is supported by the fact that the mid-shot allows the audience to notice the two guards standing beside her. The guards are both male, both dressed in black, and carrying guns, showing the male’s genders taste for brutality, so as in order to gain power.

As she walks the viewer is given a point-of-view shot as it slightly moves towards her family and the captain by the use of a dolly. Her family seem to be enslaved and are dressed in serving outfits. Yet because the family is mainly mad up of females, this highlights how vulnerable the woman appear to be in this clip, and of how easily they can be controlled by the male gender. However on the other hand the captain is a male and is seen captured by the master. Although he is a male, this still shows the imbalance of power within this clip, yet helps to maintain the Masters power over the room. Another example of power would be the one of the aged Doctor trapped in the cage, this reflecting his imprisonment. Although he is a male, he is portrayed as very old, and thus has no power over the youthful male that is the master.

The master asks for an object from Martha, and at once she gives it to him by throwing it. Yet this particular actions illuminates the distance that is between the two, revealing a vast difference in power between both genders. During this time, Non-diegetic music is being played of what sounds like a slow march. This could possibly relate to the likes of a stand-off or possibly a funeral march, both of which lead to death. A viewer could then interpret that because of the selected music, Martha is heading toward her death, this being watched over by the powerful male figure. Sound also follows this as dialogue “kneel” is ordered by the master. This specific order tests the male’s power, only to be obided by the female instantly, once again expressing obedience of the female gender. This particular order also reveals the masters omnipotent power and of how he can even be sense as something to be worshiped by the female gender (such as Martha) because of his power.

A following mid shot consists of the master, and a woman standing faithfully behind, this being suggested as a wife or “companion” to the man she stands behind. We do not here her say any dialogue, implying that she under control of the male. Through Mise-en-Scene she is in a red dress, with red lipstick with blonde hair, these particular colours with a woman strongly insinuating a sexual attraction to a male audience. This exploits the fact that woman can be seen as unimportant (Martha), unless they seen as a sexual possession (the woman in red).

The viewer is then met with a multitude alien robot flying across space. Through sound, the audience hears the ‘sci-fi’ beeps of the robots as well as the master referring to them as ‘his children’. This re-ignites the idea that the male gender are seen as very powerful, to such an extent that the master is once again seen as a god-like character, referring to many of the robots as his very own ‘children’.

Through editing we see a continuous reverse shot of the Master and Martha, suggesting how the female tries to engage and overcome a conversation with her opposite tension, creating a growing amount of tension and rivalry between the two charters. This is supported with the innervation of reverse shot with a countdown. This counting down is always shot in a close up to again highlighting the growing tension as well as suggesting the upcoming downfall of the male villain.

 Hotel Babylon: The representation of Ethnicity: Re-Write:

In this clip ‘Hotel Babylon’, the representational issue of ethnicity illustrates a clear conflict between different ethnic groups- foreign ethnic groups seeming inferior to those characters of a national ethnicity.

The clip begins with a close-up shot of an English man, dressed in a smart black suit and blue tie. The close-up allows the audience to view the man’s clothing with close inspection, suggesting the male figure to be wealthy and thus powerful, as due to such suggested expensive clothing. Yet because he is of a national British ethnicity, he may then be seen as an immediate superior character among others, as due to his profound wealthy appearance.

Later, the viewer is given a mid-shot of two British men. Their black and white uniforms may suggest a sense of demand, control, and ultimately power. The uniforms itself typically connotes itself to Britain, thus their costume highlighting the fact that because they are British they have power over others- this may foreshadows later events on when the two policemen escort an immigrant to a police car, this displaying their power. The high-key lighting that surrounds the two police officers may suggest of the officers confidence and power as they hold an amount of dominance-they being the face of the law nationally.

The immigration officer John Boyakes wears a suit yet he is the only one of the men who does not were a tie, this being illuminated through the close-up shot as he walks into the hotel reception in the following scene. This may suggest that because of national ethnicity he is above all the other character, having enough power to be deemed with the pleasure of not having to possesses common social expectations such as a tie. Accordingly all amounts of screen time have been placed of British characters, displaying a national superiority. This may be encapsulated through the frequent cross cutting of the hotel guests as Boyakes makes his way through the hotel room. During this time non-digetic sound is placed of a slow drum beat, implying the Britons power and presence from within the room.

The female sectary is another English character. She sits behind the desk, these proxemics reflecting the fact that she has a job, and is thus more qualified, and superior to foreign ethnic groups such as the immigrants who are the positioned below the hotel- the construct of the proxemcis illuminating the distance and fortunes between the two ethnic minorities. She is seen in a white blazer, where high key lighting surrounds her, conforms to the belief that he characters of a national ethnicity are better off in their life. Cross cutting is seen between the immigration officer and her. It is here that the audience may notice the distinctive regional accents found in the pair, ranging from cockney to a profound middle-class type. This further implies of their nationality and thus that because of this they are superior to those character who are of any different ethnic background- this being seen through the contrast of jobs, status, and power.

The digetic sound of the jangilign of keys, as well as the steam issuing from a cooking pot reveals Asian-decent Jackie to be in great panic and distress. This allow the audience to feel a growing sense of tension as Jackie, being of a certain decent, may perhaps represent all foreign ethnic backgrounds and the approaching trouble they are in- this being seen through the use of these sounds and the sudden change of music to rather fast-paced tempo.

Quick cuts of her and the immigrants running implies both the danger and urgency from within the panicked group. This may suggest of their wrong-doing of illegally staying in their country, representing them as conniving and untrustworthy- this follows the hegemonic norm of how others of a different ethnicity are illustrated through forms of media. A deep close up of the door closing may signify the metaphorical barrier of boarder control, they comforting to their foreign representation of being crafty and ill-mannered. This reinforced with the low-key lighting from within the room, emphasising the fact of they breaking the law to have been something of a terrible sin- this darkened room bearing a familiar appearance of a prison cell, foreshadowing to the viewer of the results that are to come.

Finally, the director sees fit to place the camera on a dolly, allowing it to move with a fluid motion to one side, as it slowly displays the many ethnic groups eating in a canteen. The costumes are all the same, as being overalls. This and the particular movement of the shot helps to combine the representation that characters with an ethnic background are compared to prisoners- they both having no rights, freedom or power.

Media examination: Advice:

 

TV DRAMA:

- Don’t write lengthy introductions

 

-Address the representation issue at once. Explain what it is and how is it portrayed through the scene.

 

- It is also important that candidates move from description of key technical areas to analysis of how representations are constructed.

 

-  Always link evidence with the required representational issue.

 

- Mise-en-Scene and camera have been proven to be the most understood micro features. Weaker micro features that candidates generally struggle or are limited in talking about are sound, followed by editing (the weakest).

 

- Don’t just r-tell the narrative of the clip.

 

FILM INDUSTRY:

-          The whole exam is the comparison between big vs. small. Root this down with your writing.

 

-          Know facts/figures/statistics of your films.

 

-          Reference other films/compannies other than your case studies so as to display a further understanding of the industry.

 

-          Be aware of contemporary practices from within the film industry (e.g. such as technology/ IMAX).

 

-          - Be specified on when giving examples.

 

-          Context on the film Industry is not necessary.