Holby City focusing on gender...again!
4 pages by Friday!
Wednesday, 10 November 2010
Example Answer
The scene opens with a low angle shot of an older woman standing at her bedroom window looking out onto a street. A shot reverse shot edit shows that she is looking at a young boy across the road who is also looking out of his living room window up at her. Gail is positioned higher up than Todd to show that she has the power in the sequence. Todd cowers away from the window and a reverse shot shows that Gail is still standing there watching him. Her body language and facial expression shows pursed lips and head held high. The representation throughout this sequence largely challenges stereotypical ideal about women. For example, here, Gail is show to be aggressive through her body language where as the stereotype is for women to be passive.
As Sarah lays on the couch, Gail enters the scene and again is presented from a low angle shot from Sarah’s perspective. A close up shot reveals how emotional and angry Gail is and the diegetic sound of dialogue informs us that she is ‘sick of being the victim’. Her tone is strong and her voice is loud. Gail storms across the cobbled street in her bathrobe. This costume again shows that her character challenges the stereotype. She is not represented as beautiful or sexually attractive, instead she is seen as unattractive and hot headed. The mise-en-scene also tells us that this is a working class area through the cobbled streets and tenement houses. The representation in this scene is certainly of working class women and so challenges a lot stereotypes which may be seen as more middle class.
The scene cuts to a two-shot Kevin and Sally, however Sally is positioned behind Kevin as he spies on the commotion outside. The fact that Kevin is spying on the neighbours challenges gender ideals because it is usually women who are said to be nosey or gossips. At the same time Kevin constantly positions himself with his back to Sally indicating that she is an annoyance to him and he is not interested in what she has to say. This is more stereotypical of the married man.
The scene cuts back to the street commotion. A focus pull takes our attention from a close up on Gail shouting to a couple in the background. A two-shot is used to represent them and the sound perspective changes. In the background we can still hear Gail shouting in the street but the diegetic sound of the other woman’s voice shows her to be more passive and gentle, a more stereotypical representation.
Eileen comes to the door and an over-the-shoulder shot show Gail shouting at her with Sarah in the background. These women are being represented as matriarchs. There is apparently no father in either household and the dialogue reveals this to be true. They therefore take on the lead role in both households. The over-the-shoulder shot shows that Gail is protecting her daughter as she is positioned in front of her. The women exchange insults and shot-reverse-shot editing is used, typical of soap opera, to show both women’s reactions. Their body language is strong and their tones fierce. Again, the stereotypical media representations of femininity are challenged here. In addition working class women are represented as having no intellectual pursuits.
A cross cut edit takes us inside Eileen’s house where her son, Todd, is cowering behind the sofa. Sound perspective allows us to hear the argument as he does. A close-up shot shows us he is scared until he gets the bravery to challenge the matriarchs. Throughout the scene Todd is represented as caring and passive, a trait associated with femininity. This is further expressed later in the scene when his ‘masculine’ brother comes along wearing construction work wear. A two-shot of the brothers lets use compare the two. Todd stands with his shoulders slumped whereas his brother stands tall with his hands in his pockets, one clearly more feminine and the other overtly masculine.
A circular shot is used to build the tension between the women and the escalating row as well as showing that Todd has jumped between the two. This represents women as childish and having to be calmed down by their children. Frenetic handheld camera work is used when the two women break into a fight to build the tension. A close up shallow focus on Sarah shows her embarrassment at her mum’s behaviour as a focus pull allows us to the see the crowds that have gathered. As the women wrestle to the floor a reverse shot shows a young man in the crowd whose facial expression clearly shows that he is enjoying the fight. There is a sense that the sight of two older women fighting is quite ridiculous.
As Sarah lays on the couch, Gail enters the scene and again is presented from a low angle shot from Sarah’s perspective. A close up shot reveals how emotional and angry Gail is and the diegetic sound of dialogue informs us that she is ‘sick of being the victim’. Her tone is strong and her voice is loud. Gail storms across the cobbled street in her bathrobe. This costume again shows that her character challenges the stereotype. She is not represented as beautiful or sexually attractive, instead she is seen as unattractive and hot headed. The mise-en-scene also tells us that this is a working class area through the cobbled streets and tenement houses. The representation in this scene is certainly of working class women and so challenges a lot stereotypes which may be seen as more middle class.
The scene cuts to a two-shot Kevin and Sally, however Sally is positioned behind Kevin as he spies on the commotion outside. The fact that Kevin is spying on the neighbours challenges gender ideals because it is usually women who are said to be nosey or gossips. At the same time Kevin constantly positions himself with his back to Sally indicating that she is an annoyance to him and he is not interested in what she has to say. This is more stereotypical of the married man.
The scene cuts back to the street commotion. A focus pull takes our attention from a close up on Gail shouting to a couple in the background. A two-shot is used to represent them and the sound perspective changes. In the background we can still hear Gail shouting in the street but the diegetic sound of the other woman’s voice shows her to be more passive and gentle, a more stereotypical representation.
Eileen comes to the door and an over-the-shoulder shot show Gail shouting at her with Sarah in the background. These women are being represented as matriarchs. There is apparently no father in either household and the dialogue reveals this to be true. They therefore take on the lead role in both households. The over-the-shoulder shot shows that Gail is protecting her daughter as she is positioned in front of her. The women exchange insults and shot-reverse-shot editing is used, typical of soap opera, to show both women’s reactions. Their body language is strong and their tones fierce. Again, the stereotypical media representations of femininity are challenged here. In addition working class women are represented as having no intellectual pursuits.
A cross cut edit takes us inside Eileen’s house where her son, Todd, is cowering behind the sofa. Sound perspective allows us to hear the argument as he does. A close-up shot shows us he is scared until he gets the bravery to challenge the matriarchs. Throughout the scene Todd is represented as caring and passive, a trait associated with femininity. This is further expressed later in the scene when his ‘masculine’ brother comes along wearing construction work wear. A two-shot of the brothers lets use compare the two. Todd stands with his shoulders slumped whereas his brother stands tall with his hands in his pockets, one clearly more feminine and the other overtly masculine.
A circular shot is used to build the tension between the women and the escalating row as well as showing that Todd has jumped between the two. This represents women as childish and having to be calmed down by their children. Frenetic handheld camera work is used when the two women break into a fight to build the tension. A close up shallow focus on Sarah shows her embarrassment at her mum’s behaviour as a focus pull allows us to the see the crowds that have gathered. As the women wrestle to the floor a reverse shot shows a young man in the crowd whose facial expression clearly shows that he is enjoying the fight. There is a sense that the sight of two older women fighting is quite ridiculous.
Friday, 5 November 2010
Practice Examination
http://www.youtube.com/watch?v=iX6-vYeTCcwDiscuss the ways in which the extract constructs representations of gender using the following:
•Camera shots / angles, movement and composition
•Editing
•Sound
•Mise-en-scene
Thursday, 21 October 2010
Soap Opera - Learning technical codes and conventions
Aim: To demonstrate understanding of Soap Opera conventions by creating a 2 minute soap opera sequence.
You will be working in groups of 4 to create your sequence. You will need a cameraman, a director and actors. You can all contribute to the editing process.
Create a 2 minute sequence
A conversation between characters
Conversation should drive the narrative
Something dramatic should happen in the scen
Remember the technical codes of the genre
Remember the technical codes of the genre
Consider how you represent one group in your sequence e.g. gender or class
Camera Shots you can choose from:
establishing Shot
close-up
mid-shot
long-shot
two –shot
point-of-view
over-the-shoulder-shot
high angle
low angle
Sounds:
diegetic and non-diegetic sounds
synchronous sound
sound Bridge
dialogue
ambient sound
Editing:
shot/reverse shot
eye-line match
action match up
cross-cutting
Wednesday, 13 October 2010
A Grade Response!
The extract opens with a long shot of an 8 year old girl dancing like a ballerina around her clean and tidy bright pink bedroom. Slow motion editing is used to give the shot a dream or fantasy like quality as the voice over tells the fairy tale story of a gremlin that eats humans to protect her children. At first the impression given is that this is a middle class bedroom as it has co-ordinated furnishings and is impeccably neat and tidy. The girl has poise as she dances giving the impression that she is educated.
There is a fade to white and we are drawn out of the dream world and into a working class reality. A tracking shot follow Frank as he stumbles along the street. A close up shot of the post-man reveals his distain at this apparently frequent occurrence. Frank pats a woman on the backside as she carried her milk bottles home. Again she has an expression of disgust on her face and there is the suggestion that this is fairly routine.
Frank’s costume is dirty and old and his hair is dishevelled. Make-up is used to make his face appear very red with cracked veins connoting that he is an alcoholic or that he doesn’t live a healthy lifestyle. This representation of working class lifestyle is fairly stereotypical as he seems to be quite worthless.
An establishing shot shows the estate that Frank is walking through. In the distance is the typical run down 1960s tower block and the street is lined with small cramped housing and gardens that no one cares for. In the Gallagher’s front garden is a camper van, again a stereotypical representation of the lower working class.
The set design of the interior of the house is old and shabby indicating that the family does not have much money to spend on luxuries like nice furniture or décor. A close up shot shows one of the sons being handed fried egg on toast for his breakfast by his older sister. The dad bursts through the door knocking the food out of his sons hands, but seems to be distracted. There is a comical panning shot of the kitchen as all five of the children check their watches, clearly confused by their dad’s sudden appearance. There is the suggestion that the dad doesn’t live with the children and has only come because he wants to collect his ‘giro’. Again this is a negative and fairly stereotypical representation of the lower working class.
To add to this Frank behaves like a rabid dog when the post man arrives. A close up shot shows Franks kneeling down and grabbing the post in his teeth and the diegetic sound of him growling like a dog suggests a feral like nature. The non-diegetic music which plays is reminiscent of old game shows and a high angle shot looking down on Frank as the post rains down upon him suggests that he is the final contestant and he must search frantically through the post to find the final prize – the childrens’ support benefit. Short ellipsis editing is used here to give the impression that the post is coming through the door for a long time. The synchronous sound of the post falling through the letter box emphasises this. Close up shots reveal that the letters are final demands from various companies. Eye-line match editing cuts between the expressions of despair on the childrens’ faces and the various final demand letters.
The dialogue between the characters suggests that the dad takes no responsibility for the families problems, he has no family values. However, mid-long shots are constantly used throughout this scene to represent the children of the family and their unity. They are almost opposite to the dad. The children are dressed for school and eating breakfast when he arrives. This indicates that they value their education and can cope without their father. This representation has a number of connotations. Firstly it suggests that working class families are broken families. Here it is the older sister that is caring for the family. In addition it also suggests that working class families do have strong values, in this case education and family. It is clear from the costumes that this family doesn’t have a lot of money and the children attend a local state school. Their school shirts hang out of their trousers, their ties are not well done and their top shirt button is open. There is the suggestion that these children do not have access to a top education because of their poverty.
Frank experiences a flash back to when he purchased the television that got them in to debt. A warped visual effect is used to create a sense of disorientation, really giving the audience a sense of Frank’s state of mind. In the diegetic sound his speech is slurred and he talks about buying the television for “fags and blow”. His loose moral values are demonstrated again and his children are going to pay for it.
Two debt collectors arrive at the door. Their costume and make-up indicates that they are thuggish as they have stereotypical shaved heads and unclean teeth. A low-angle two-shot indicates their unity and threat to the family. The connotations of their appearance is that they are illegal debt collector and not from a legitimate bailiffs which suggests the dodgy dealings of the dad. Frank runs from the house and a hand held camera track him as he sprints through the run down estate. The unsteady camera movement of the hand held camera really gives the scene a sense of adrenaline and underpins the instability of the family, the chaos that they face everyday. The diegetic sound of a car alarm in the distance reinforces the criminality of the working class people who live there.
When the children are left confronted by the debt collectors the shot composition constantly represents the children’s unity. A low angle close up shot shows one of the debt collectors threatening the older girl, asking her where her dad is. Shot reverse shot shows her reaction. She is terrified but doesn’t say anything. This again shows the family values that the children have. The dad might have given them up, but they won’t do the same to him.
The story of the monster that the voice over tells at the beginning of the story seems ironic. No parent has come to protect these children. They are alone.
It seems that there are both positive and negative representations of the working class here. The father represents a more stereotypical character. Even though the narrative revolves around their poverty and criminal activity, the overriding feeling is one of strong family values and unity under the pressure of poverty and abandonment.
There is a fade to white and we are drawn out of the dream world and into a working class reality. A tracking shot follow Frank as he stumbles along the street. A close up shot of the post-man reveals his distain at this apparently frequent occurrence. Frank pats a woman on the backside as she carried her milk bottles home. Again she has an expression of disgust on her face and there is the suggestion that this is fairly routine.
Frank’s costume is dirty and old and his hair is dishevelled. Make-up is used to make his face appear very red with cracked veins connoting that he is an alcoholic or that he doesn’t live a healthy lifestyle. This representation of working class lifestyle is fairly stereotypical as he seems to be quite worthless.
An establishing shot shows the estate that Frank is walking through. In the distance is the typical run down 1960s tower block and the street is lined with small cramped housing and gardens that no one cares for. In the Gallagher’s front garden is a camper van, again a stereotypical representation of the lower working class.
The set design of the interior of the house is old and shabby indicating that the family does not have much money to spend on luxuries like nice furniture or décor. A close up shot shows one of the sons being handed fried egg on toast for his breakfast by his older sister. The dad bursts through the door knocking the food out of his sons hands, but seems to be distracted. There is a comical panning shot of the kitchen as all five of the children check their watches, clearly confused by their dad’s sudden appearance. There is the suggestion that the dad doesn’t live with the children and has only come because he wants to collect his ‘giro’. Again this is a negative and fairly stereotypical representation of the lower working class.
To add to this Frank behaves like a rabid dog when the post man arrives. A close up shot shows Franks kneeling down and grabbing the post in his teeth and the diegetic sound of him growling like a dog suggests a feral like nature. The non-diegetic music which plays is reminiscent of old game shows and a high angle shot looking down on Frank as the post rains down upon him suggests that he is the final contestant and he must search frantically through the post to find the final prize – the childrens’ support benefit. Short ellipsis editing is used here to give the impression that the post is coming through the door for a long time. The synchronous sound of the post falling through the letter box emphasises this. Close up shots reveal that the letters are final demands from various companies. Eye-line match editing cuts between the expressions of despair on the childrens’ faces and the various final demand letters.
The dialogue between the characters suggests that the dad takes no responsibility for the families problems, he has no family values. However, mid-long shots are constantly used throughout this scene to represent the children of the family and their unity. They are almost opposite to the dad. The children are dressed for school and eating breakfast when he arrives. This indicates that they value their education and can cope without their father. This representation has a number of connotations. Firstly it suggests that working class families are broken families. Here it is the older sister that is caring for the family. In addition it also suggests that working class families do have strong values, in this case education and family. It is clear from the costumes that this family doesn’t have a lot of money and the children attend a local state school. Their school shirts hang out of their trousers, their ties are not well done and their top shirt button is open. There is the suggestion that these children do not have access to a top education because of their poverty.
Frank experiences a flash back to when he purchased the television that got them in to debt. A warped visual effect is used to create a sense of disorientation, really giving the audience a sense of Frank’s state of mind. In the diegetic sound his speech is slurred and he talks about buying the television for “fags and blow”. His loose moral values are demonstrated again and his children are going to pay for it.
Two debt collectors arrive at the door. Their costume and make-up indicates that they are thuggish as they have stereotypical shaved heads and unclean teeth. A low-angle two-shot indicates their unity and threat to the family. The connotations of their appearance is that they are illegal debt collector and not from a legitimate bailiffs which suggests the dodgy dealings of the dad. Frank runs from the house and a hand held camera track him as he sprints through the run down estate. The unsteady camera movement of the hand held camera really gives the scene a sense of adrenaline and underpins the instability of the family, the chaos that they face everyday. The diegetic sound of a car alarm in the distance reinforces the criminality of the working class people who live there.
When the children are left confronted by the debt collectors the shot composition constantly represents the children’s unity. A low angle close up shot shows one of the debt collectors threatening the older girl, asking her where her dad is. Shot reverse shot shows her reaction. She is terrified but doesn’t say anything. This again shows the family values that the children have. The dad might have given them up, but they won’t do the same to him.
The story of the monster that the voice over tells at the beginning of the story seems ironic. No parent has come to protect these children. They are alone.
It seems that there are both positive and negative representations of the working class here. The father represents a more stereotypical character. Even though the narrative revolves around their poverty and criminal activity, the overriding feeling is one of strong family values and unity under the pressure of poverty and abandonment.
Thursday, 7 October 2010
Key Words You Need To Know!
Camera Shots, Angle, Movement and Composition
• Shots: establishing shot, master shot, close-up, mid-shot, long shot, wide shot, two-shot, aerial shot, point of view shot, over the shoulder shot, and variations of these.
• Angle: high angle, low angle, canted angle.
• Movement: pan, tilt, track, dolly, crane, steadicam, hand-held, zoom, reverse zoom.
• Composition: framing, rule of thirds, depth of field – deep and shallow focus, focus pulls.
Editing
Includes transition of image and sound – continuity and non-continuity systems.
• Cutting: shot/reverse shot, eyeline match, graphic match, action match, jump cut, crosscutting, parallel editing, cutaway; insert.
• Other transitions, dissolve, fade-in, fade-out, wipe, superimposition, long take, short take, slow motion, ellipsis and expansion of time, post-production, visual effects.
Sound
• Diegetic and non-diegetic sound; synchronous/asynchronous sound; sound effects; sound motif, sound bridge, dialogue, voiceover, mode of address/direct address, sound mixing, sound perspective.
• Soundtrack: score, incidental music, themes and stings, ambient sound.
Mise-en-Scène
• Production design: location, studio, set design, costume and make-up, properties.
• Lighting; colour design.
• Shots: establishing shot, master shot, close-up, mid-shot, long shot, wide shot, two-shot, aerial shot, point of view shot, over the shoulder shot, and variations of these.
• Angle: high angle, low angle, canted angle.
• Movement: pan, tilt, track, dolly, crane, steadicam, hand-held, zoom, reverse zoom.
• Composition: framing, rule of thirds, depth of field – deep and shallow focus, focus pulls.
Editing
Includes transition of image and sound – continuity and non-continuity systems.
• Cutting: shot/reverse shot, eyeline match, graphic match, action match, jump cut, crosscutting, parallel editing, cutaway; insert.
• Other transitions, dissolve, fade-in, fade-out, wipe, superimposition, long take, short take, slow motion, ellipsis and expansion of time, post-production, visual effects.
Sound
• Diegetic and non-diegetic sound; synchronous/asynchronous sound; sound effects; sound motif, sound bridge, dialogue, voiceover, mode of address/direct address, sound mixing, sound perspective.
• Soundtrack: score, incidental music, themes and stings, ambient sound.
Mise-en-Scène
• Production design: location, studio, set design, costume and make-up, properties.
• Lighting; colour design.
Wednesday, 6 October 2010
Shameless Analysis
How are representations of class constructed in this short sequence from Shameless?
Explore the following elements:
mise-en-scene
cinematography
sound
editing
http://www.youtube.com/watch?v=hoDH7awBCfM&has_verified=1
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