May 2012 - to be linked in when published - Section A text was Coming Down the Mountain - see other resource.
Jan 2012 - to be linked in when published
May 2011
Jan 2011
May 2010
Jan 2010
May 2009
Jan 2009
Monday 16 July 2012
G322 Examplar Responses June 2009 SECTON B Institutions & Audience
Answer the question below, making detailed reference to examples from your case study material to support the points made in your answer.
2 How important is technological convergence for institutions and audiences within a media area which you have studied?
Candidates focus on one of the following media areas though you may make reference to other media where relevant to your answer.
• Film (This is our schools chosen subject.)
• Music
• Newspapers
• Radio
• Magazines
• Video games [50 marks]
Comments from the mark scheme
Candidates will be assessed on their ability to illustrate patterns of production, distribution, exchange and consumption through relevant case study examples and their own experiences as audiences. Candidates may cover the use of convergent technology in one or more of the following areas in their responses to the question:
Candidates should be given credit for their knowledge and understanding, illustrated through case study material, in any of these areas; there is no requirement that they should all be covered equally. Examiners should also be prepared to allow points, examples and arguments that have not been considered if they are relevant and justified.
Explanation/analysis/argument 20 marks
Use of examples 20 marksUse of terminology 10 marks
Chloe received 45/50 for the following answer. However as you will see the examiner found this hard to read and includes a comment to this end.
Technical Convergence has advanced significantly since the introduction of the Internet in 1998. First seen in the Blair Witch Project's success in '99 which was a sleeper hit which did extremely well as it converged television resources with Internet creating an online world for the audience.
Furthermore technological advancement has also benefited institutions and distributors greatly as they are able to research the audience wants and needs within a movie greatly.
In 2008 in particular two movies were campaigned mainly online to bring in its target audience. Firstly there was Coverfield whose first advert was shown on the 4th July weekend before the Transformers film in the cinema. The teaser trailer was brief and held no title which made the audience curious and led to them researching online. All that was shown was the date 18-1-08. This was all the audience had to go on which ultimately became the movies official site (http://www.18-1-08.com/) which was updated regularly with mysterious pictures for its audience to find clues in. This idea involves the audience ???? a background story which then led to other sites; Teddy & Jasmines site, T.I.D.O. wave, Taraguso and the Flashes drink site which all circled around the events of the night the monster, the characters and the incident that awoke the monster.
The convergence of the original television source connecting with the Internet using the websites, social networking sites and widgets created a whole fan base of curious Internet users which ultimately created an extremely good word of mouth which led to the great success of Cloverfield.
Later on that year ads for Twilight were released on television as well as online. A survey shows however that 83% of people saw the trailer online first. Showing the great influence of the Internet. To add to the campaign Facebook, MySpace and Youtube Channel, Widgers and Fan sites came about to update the audience regularly as well as promoting the book which became No.5. in book sales charts over two years after its original release.
Linking to the Internet and the convergence of another technology was Twilight's soundtrack which reached No.1 on billboards charts as well as high ranking on Amazon and other such sites. 29% of sales were digital. Thus showing the influence of music as the soundtrack became a hit before Twilight's Nov 27th release. With the help of MTV.com to promote Twilight to a young target audience Summit Entertainment was a sure success.
Also the advancement of mobile phone technology converging with Itunes, Fandangs and Movietickets.com (sites where music and tickets can be purchased) allowed special codes which can be sent to aid from phones for unique music re-mixes and phone wallpapers which further reaches its young target market.
As well as the convergence with the Internet an illustrated companion was released, as well as posters, further expanding on Twilight original audience readers by creating a franchise which can be compared to that of Lord of the Rings.
To attract another audience (mothers) a site called http://www.twilightformoms.com/ was created and used to show mothers how daughter friendly Twilight was as it's central protagonist was a virgin and the book was void of sexual scenes giving it another outlook and reason to watch.
In 2009 Metrodance, an independent UK distributor created an e-mail viral ling experience to promote urban thriller Shifty. The e-mail was used as a way of advertising allowing fans to send an e-mail to friends and family which appeared to accuse them of being linked to a drug related criminal investigation as it was said to have come from an official Shifty's website where the participant would be told they were "stitched up by a mate" and offered them the chance to do the same to someone else. However this was eventually taken down by the ASA for being offensive.
Therefore Paramount Pictures, Summit Entertainment and Metrodome group mainly focused on Internet campaigns, social networking sites and five minute widgets to advertise their movies resulting in extremely high success rates as Cloverfield, Twilight, and especially Shifty had relatively low budgets (Cloverfield - $21m, Twilight - $37m and Shifty - $100,000) showing the power of cheap marketing online now enforces over audience.
Institutions through vertical integration are now controlling all aspects of distribution under one roof through subsidiary arms, for example, Paramount owns Paramount Pictures, Viacom, Marvel and Nicholodeon as well as MTV.com allowing them to reach several different audiences regionally.
However in the case of Summit Entertainment (distributors of Twilight) the company is independent limiting its advantages as they also used Entertainment to distribute Twilight in the UK which may have cost extra out of the marketing budget losing money which shows the importance in subsidiary arms, in the success of the movies.
In conclusion the main factor in marketing film now is the Internet. Without it a huge audience may be lost. It only disadvantage is that an older generation which doesn't use the Internet is not appealed to successfully, however as seen in Susan Bergraff's study of who watches movies and why, the dating age of 16-25 is the main audience which institutions aspire to target in order to benefit from the "snuggle theory". Therefore in Twilight and Cloverfield success the use of the Internet resource triumph over television adverts and billboards which were later used once all mystery of the movies were gone appealing to the last minute audience. Also ticket sales sites have greatly influenced pre-ticket sales of the much awaited High School Musical 3 and Bond's Quantum of Solace.
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Examiners Report
Film Industry
Far too many candidates seemed to have been prepared with historical accounts of particular institutions which did not address contemporary issues of institutional or audience practices - Working Title was frequently used as a case study but with little contemporary material in evidence. Popular case studies included the study of UK film companies such as Working Title and Film Four, which provided plenty of promising material, particularly when their working practices were contrasted with Hollywood equivalents, such as the Dark Knight. Some centres had prepared candidates for this unit with single text studies (ie of an individual film), which clearly did not provide candidates with sufficient knowledge of wider institutional, and audience contexts to tackle the question set. Institutional questions, which dealt with, a comparison of successful American institutions versus less commercially successful home grown UK industries often worked well, for example, Bullet Boy and This is England.
In discussion of how important technological convergence is for the film industry, more able candidates could develop an argument which could discuss and evaluate how technological convergence enables effective digital distribution, supports viral marketing campaigns, such as the Dark Knight or The Simpsons, creates media synergy and, for example, the use of Sony BMG to record the soundtrack, and merchandising tie in deals. These able candidates could also evaluate how institutions and audiences used media technology across different platforms, for example on the iPod and other mobile devices/phones and the use of social networking sites to share and offer fan comments. Candidates also discussed downloading (including the issue of Internet piracy) films, but did not give specific examples of websites or how you could subsequently watch the movies. On occasion candidates could offer criticism that independent and often British film releases which do not have the budget of major conglomerate film studio’s had to find alternative non- convergent methods of distribution and marketing.
Centres need reminding that historical case studies of film studios, such as Hammer or Ealing film studios is not apart of the requirement for the study of film institution and audiences. At the same time if centres are using contemporary resources, such as The Boat That Rocked or Slumdog Millionaire, that they ensure candidates have an academic understanding of the film’s institution and audience and not simply rely upon the prepared reading of the text and its marketing campaign alone.
2 How important is technological convergence for institutions and audiences within a media area which you have studied?
Candidates focus on one of the following media areas though you may make reference to other media where relevant to your answer.
• Film (This is our schools chosen subject.)
• Music
• Newspapers
• Radio
• Magazines
• Video games [50 marks]
Comments from the mark scheme
Candidates will be assessed on their ability to illustrate patterns of production, distribution, exchange and consumption through relevant case study examples and their own experiences as audiences. Candidates may cover the use of convergent technology in one or more of the following areas in their responses to the question:
- Production practices which allow texts to be constructed for specific audiences
- Distribution and marketing strategies to raise audience awareness of specific products or types of products
- The use of new technology to facilitate more accurate targeting of specific audiences
- Audience strategies in facilitating or challenging institutional practices.
Candidates should be given credit for their knowledge and understanding, illustrated through case study material, in any of these areas; there is no requirement that they should all be covered equally. Examiners should also be prepared to allow points, examples and arguments that have not been considered if they are relevant and justified.
Explanation/analysis/argument 20 marks
Use of examples 20 marksUse of terminology 10 marks
Chloe received 45/50 for the following answer. However as you will see the examiner found this hard to read and includes a comment to this end.
Technical Convergence has advanced significantly since the introduction of the Internet in 1998. First seen in the Blair Witch Project's success in '99 which was a sleeper hit which did extremely well as it converged television resources with Internet creating an online world for the audience.
Furthermore technological advancement has also benefited institutions and distributors greatly as they are able to research the audience wants and needs within a movie greatly.
In 2008 in particular two movies were campaigned mainly online to bring in its target audience. Firstly there was Coverfield whose first advert was shown on the 4th July weekend before the Transformers film in the cinema. The teaser trailer was brief and held no title which made the audience curious and led to them researching online. All that was shown was the date 18-1-08. This was all the audience had to go on which ultimately became the movies official site (http://www.18-1-08.com/) which was updated regularly with mysterious pictures for its audience to find clues in. This idea involves the audience ???? a background story which then led to other sites; Teddy & Jasmines site, T.I.D.O. wave, Taraguso and the Flashes drink site which all circled around the events of the night the monster, the characters and the incident that awoke the monster.
The convergence of the original television source connecting with the Internet using the websites, social networking sites and widgets created a whole fan base of curious Internet users which ultimately created an extremely good word of mouth which led to the great success of Cloverfield.
Later on that year ads for Twilight were released on television as well as online. A survey shows however that 83% of people saw the trailer online first. Showing the great influence of the Internet. To add to the campaign Facebook, MySpace and Youtube Channel, Widgers and Fan sites came about to update the audience regularly as well as promoting the book which became No.5. in book sales charts over two years after its original release.
Linking to the Internet and the convergence of another technology was Twilight's soundtrack which reached No.1 on billboards charts as well as high ranking on Amazon and other such sites. 29% of sales were digital. Thus showing the influence of music as the soundtrack became a hit before Twilight's Nov 27th release. With the help of MTV.com to promote Twilight to a young target audience Summit Entertainment was a sure success.
Also the advancement of mobile phone technology converging with Itunes, Fandangs and Movietickets.com (sites where music and tickets can be purchased) allowed special codes which can be sent to aid from phones for unique music re-mixes and phone wallpapers which further reaches its young target market.
As well as the convergence with the Internet an illustrated companion was released, as well as posters, further expanding on Twilight original audience readers by creating a franchise which can be compared to that of Lord of the Rings.
To attract another audience (mothers) a site called http://www.twilightformoms.com/ was created and used to show mothers how daughter friendly Twilight was as it's central protagonist was a virgin and the book was void of sexual scenes giving it another outlook and reason to watch.
In 2009 Metrodance, an independent UK distributor created an e-mail viral ling experience to promote urban thriller Shifty. The e-mail was used as a way of advertising allowing fans to send an e-mail to friends and family which appeared to accuse them of being linked to a drug related criminal investigation as it was said to have come from an official Shifty's website where the participant would be told they were "stitched up by a mate" and offered them the chance to do the same to someone else. However this was eventually taken down by the ASA for being offensive.
Therefore Paramount Pictures, Summit Entertainment and Metrodome group mainly focused on Internet campaigns, social networking sites and five minute widgets to advertise their movies resulting in extremely high success rates as Cloverfield, Twilight, and especially Shifty had relatively low budgets (Cloverfield - $21m, Twilight - $37m and Shifty - $100,000) showing the power of cheap marketing online now enforces over audience.
Institutions through vertical integration are now controlling all aspects of distribution under one roof through subsidiary arms, for example, Paramount owns Paramount Pictures, Viacom, Marvel and Nicholodeon as well as MTV.com allowing them to reach several different audiences regionally.
However in the case of Summit Entertainment (distributors of Twilight) the company is independent limiting its advantages as they also used Entertainment to distribute Twilight in the UK which may have cost extra out of the marketing budget losing money which shows the importance in subsidiary arms, in the success of the movies.
In conclusion the main factor in marketing film now is the Internet. Without it a huge audience may be lost. It only disadvantage is that an older generation which doesn't use the Internet is not appealed to successfully, however as seen in Susan Bergraff's study of who watches movies and why, the dating age of 16-25 is the main audience which institutions aspire to target in order to benefit from the "snuggle theory". Therefore in Twilight and Cloverfield success the use of the Internet resource triumph over television adverts and billboards which were later used once all mystery of the movies were gone appealing to the last minute audience. Also ticket sales sites have greatly influenced pre-ticket sales of the much awaited High School Musical 3 and Bond's Quantum of Solace.
---------------------------------------------------------------------------------------------------------------------------------------
Examiners Report
General Comments on Question 2
Question two allowed for a wide-ranging number of responses across all of the media areas that candidates could address. The question also provided differentiation in the candidates’ responses, probably more so than in question one. However, there were a significant number of candidates (and centres) who did not seem to understand the concept of technological convergence, despite the fact that it is clearly indicated within the specification. On the other hand, there were plenty of candidates’ responses which met level four and level three for question two and clearly could address the question set and had been prepared well by centres.
Stronger candidates focused their responses on the issues of technological convergence and were able to argue the importance for the institution they studied, the products they distributed and produced and how audiences consumed these products. These candidates could also focus on how important, with reference to and in evaluation of the advantages and disadvantages of technology convergence for both institution and audience.
On occasion, the most able candidates could argue that technological convergence is not important for the institutions, for example some video games rely on the exclusivity that was provided by the platform used. Where appropriate, candidates were awarded full marks for question two. The best answers usually dealt with the Internet and the ramifications of this or dealing with the media area study across a numbers of platforms.
Unfortunately, there were also a large number of candidates who failed to address the issue of technological convergence or simply did not understand the concept, despite it being an issue on page nineteen of the specification. There were also a number of brief and very short answers for question two. Lesser able candidates were able to discuss distribution and practice of synergy or focus on a discussion of digital initiatives, without entirely addressing the question that was set, therefore raising some questions about the relevance of the candidates’ answers. There was a common misconception of technological convergence at times interpreted as convergent media companies or the transformation of the novel adaptation of a film.
Question two allowed for a wide-ranging number of responses across all of the media areas that candidates could address. The question also provided differentiation in the candidates’ responses, probably more so than in question one. However, there were a significant number of candidates (and centres) who did not seem to understand the concept of technological convergence, despite the fact that it is clearly indicated within the specification. On the other hand, there were plenty of candidates’ responses which met level four and level three for question two and clearly could address the question set and had been prepared well by centres.
Stronger candidates focused their responses on the issues of technological convergence and were able to argue the importance for the institution they studied, the products they distributed and produced and how audiences consumed these products. These candidates could also focus on how important, with reference to and in evaluation of the advantages and disadvantages of technology convergence for both institution and audience.
On occasion, the most able candidates could argue that technological convergence is not important for the institutions, for example some video games rely on the exclusivity that was provided by the platform used. Where appropriate, candidates were awarded full marks for question two. The best answers usually dealt with the Internet and the ramifications of this or dealing with the media area study across a numbers of platforms.
Unfortunately, there were also a large number of candidates who failed to address the issue of technological convergence or simply did not understand the concept, despite it being an issue on page nineteen of the specification. There were also a number of brief and very short answers for question two. Lesser able candidates were able to discuss distribution and practice of synergy or focus on a discussion of digital initiatives, without entirely addressing the question that was set, therefore raising some questions about the relevance of the candidates’ answers. There was a common misconception of technological convergence at times interpreted as convergent media companies or the transformation of the novel adaptation of a film.
Film Industry
Far too many candidates seemed to have been prepared with historical accounts of particular institutions which did not address contemporary issues of institutional or audience practices - Working Title was frequently used as a case study but with little contemporary material in evidence. Popular case studies included the study of UK film companies such as Working Title and Film Four, which provided plenty of promising material, particularly when their working practices were contrasted with Hollywood equivalents, such as the Dark Knight. Some centres had prepared candidates for this unit with single text studies (ie of an individual film), which clearly did not provide candidates with sufficient knowledge of wider institutional, and audience contexts to tackle the question set. Institutional questions, which dealt with, a comparison of successful American institutions versus less commercially successful home grown UK industries often worked well, for example, Bullet Boy and This is England.
In discussion of how important technological convergence is for the film industry, more able candidates could develop an argument which could discuss and evaluate how technological convergence enables effective digital distribution, supports viral marketing campaigns, such as the Dark Knight or The Simpsons, creates media synergy and, for example, the use of Sony BMG to record the soundtrack, and merchandising tie in deals. These able candidates could also evaluate how institutions and audiences used media technology across different platforms, for example on the iPod and other mobile devices/phones and the use of social networking sites to share and offer fan comments. Candidates also discussed downloading (including the issue of Internet piracy) films, but did not give specific examples of websites or how you could subsequently watch the movies. On occasion candidates could offer criticism that independent and often British film releases which do not have the budget of major conglomerate film studio’s had to find alternative non- convergent methods of distribution and marketing.
Centres need reminding that historical case studies of film studios, such as Hammer or Ealing film studios is not apart of the requirement for the study of film institution and audiences. At the same time if centres are using contemporary resources, such as The Boat That Rocked or Slumdog Millionaire, that they ensure candidates have an academic understanding of the film’s institution and audience and not simply rely upon the prepared reading of the text and its marketing campaign alone.
G322 May 2011 Exam Paper
Section: Textual Analysis and Representation
Extract: Merlin Series 1 Episode, written by Julian Jones, dir. James Hawes
The exact clip is from 55 secs - 5mins 20 secs.
1. Discuss the ways in which the extract constructs the representation of class and status using the following:
Answer the question below, making detailed reference to examples from your case study material to support the points made in your answer.
2. "Successful media products depend as much upon marketing and distribution to a specific audience as they do upon good production practices." To what extent would you agree with this statement, within the media area you have studies?
Candidates must choose to focus on one of the following media areas. You may make reference to other areas in your answer.
Extract: Merlin Series 1 Episode, written by Julian Jones, dir. James Hawes
The exact clip is from 55 secs - 5mins 20 secs.
1. Discuss the ways in which the extract constructs the representation of class and status using the following:
- Camera shots, angles, movement and composition
- Editing
- Sound
- Mise en scene
Answer the question below, making detailed reference to examples from your case study material to support the points made in your answer.
2. "Successful media products depend as much upon marketing and distribution to a specific audience as they do upon good production practices." To what extent would you agree with this statement, within the media area you have studies?
Candidates must choose to focus on one of the following media areas. You may make reference to other areas in your answer.
- Film
- Music
- Newspapers
- Radio
- Magazines
- Video Games
Additional Clips for independent study
In a discussion with Ms Rolfe over revision material for section A of the AS Exam the following programmes were selected for you to watch in addition to anything you may have already watched. Where possible I have embedded or linked a clip. Good luck
Eastenders
There is obviously more to this episode,.... have fun!
Midsummer Murders - Note: Have you ever seen ethnic minorities in Midsummer?
Eastenders
There is obviously more to this episode,.... have fun!
Midsummer Murders - Note: Have you ever seen ethnic minorities in Midsummer?
- Shameless
- Downtown Abbey - this isn't avaliable on the Internet anymore so if you or a relative have it on DVD its worth a look.
- Heartbeat
- The Only Way is Essex
- The Inbetweeners
Coming Down the Mountain (Ability / Disbility) 2011 Exam Text
This was the 2011 Summer exam. Following the summer your teacher will be able to recall good scripts from the year group for you to have a look at.
Following discussions with other teachers it has been suggested that you should watch Coming Down the Mountain for representation of disability. Although a film, technically it could fall into TV Drama as it was on BBC 1. I've embedded a short clip but the whole thing is avaliable on YouTube.
For the plot click here for wikipedia
Coming Down the Mountain
Dr Who Exam Response & Examiners feedback (Gender)
Video extract
TV Drama sequence: Doctor Who, Series 3, Volume 4
Director: Graham Harper and Colin Teague
Date: 2007
Distributor: BBC
Country: UK
Extract Location: Episode 3, Chapter 8
Extract Length: 5 minutes 06 seconds
Location/Cues: Start: 29:20; End: 34:26
Answer the question below, with detailed reference to specific examples from the extract only.
1 Discuss the ways in which the extract constructs the representation of gender using the following:
• Camera shots, angles, movement and composition
• Editing
• Sound
• Mise en scène
Marks are awarded as follows:
* Explanation/analysis/argument (20 marks)
* Use of examples (20 marks)
* Use of terminology (10 marks)
The non-diegetic music, as Martha enters and the sequence begins, is strongly masculine, as it uses loud, harsh instruments, and is bold with an undertone of male singers further masculinising the opening to the sequence. The music sounds slightly western at the beginning - relating to western films where usually two men would have a "stand off" in the town. This representation is therefore masculinised due to the sound, which relates to westerns, a predominantly male skewed culture. The idea of a stand off is created because of this music and the mise-en-scene of Martha's costume, paired with the masculine music confuses the stereotypical representation of a woman and challanges dominant ideologies based around female roles.
However there are some characters that confuse this representation. There is a woman in red standing on the high platform, a low angle shot on her. The low angle shot represents her importance and dominance, and the red of her dress is a representation of power, sexuality and perhaps anger. The fact that she is standing higher than the man talking to Martha, connotes the idea that she is of higher power than him - which is later significant as he is overthrown, and this woman helps do this. This is a positive representation of women.
As the sequence develops, Martha and the man in the suit switch roles of power, as the man becomes less significant and Martha and everyone else on the lower platform take power. Therer is a pink light on the side of the mans face as Martha tells her story to defeat him. This could be seen as a representation which feminises the man as gradually, through the telling of Martha's story we see hime become less powerful. The tracking shot is used on him to represent his defeat.
Stronger candidates could provide an integrated analysis of the extract through analysis of key examples identified. These candidates explored how the technical features could be applied using a combination of the technical features, for example, in discussion of the argument that takes place between the Master and Martha. Stronger candidates could then place this sequence of conflict in it’s mise en scène (the spaceship, with reference to cross cutting to the flashback sequence on Earth), through the use of shot reverse shot (and editing) between Martha and the Master, camera types used and through the analysis of sound also discuss the Master’s emasculation of power and authority. Weaker candidates could list many technical aspects, with varying degrees of accuracy, but struggle to say anything meaningful about the representation of gender.
Either of these approaches to the structure of question one is advisable and centres need to plan and help structure the candidate’s responses in the classroom. It is advised against preparing candidates to word a long and lengthy introduction about what they are going to answer, or give theoretical introductions and/or historical contexts to television drama. Question one does not require a discussion of the generic qualities of the television drama.
It is also important that candidates move from description of key technical areas to analysis of how representations are constructed. This will enable candidates to achieve higher notional marks for their responses and avoid sets of basic answers, which on occasion in this session offered quite general textual analysis. These types of responses lacked focused discussion of the representation of gender.
The mark scheme enables credit to be awarded to students at three different levels Explanation, Analysis and Argument (20 Marks), Use of Examples (20 Marks) and Use of Terminology (10 Marks). Under the use of examples, the mark scheme does not credit a notional level four (16-20) when only three technical areas are discussed, therefore making it less likely that a candidate can be awarded the highest possible marks.
On the whole the use of media vocabulary was very good, but could centres please note that there are up to 10 marks available for the use of media terminology – hence the previous recommendation that candidates should be encouraged to use the appropriate media terminology. Good advice for centres is to encourage candidates to keep vocabulary lists. There were a significant number of candidates who still adopted an overly simplistic approach – centres need to encourage candidates to use appropriate technical language for precision in analysis and to make sure that they avoid superficial terms like cameras 'switching' or 'jumping', and know the difference between zooms and tracking or avoid describing characters as 'goodies' and 'baddies'.
TV Drama sequence: Doctor Who, Series 3, Volume 4
Director: Graham Harper and Colin Teague
Date: 2007
Distributor: BBC
Country: UK
Extract Location: Episode 3, Chapter 8
Extract Length: 5 minutes 06 seconds
Location/Cues: Start: 29:20; End: 34:26
Answer the question below, with detailed reference to specific examples from the extract only.
1 Discuss the ways in which the extract constructs the representation of gender using the following:
• Camera shots, angles, movement and composition
• Editing
• Sound
• Mise en scène
Marks are awarded as follows:
* Explanation/analysis/argument (20 marks)
* Use of examples (20 marks)
* Use of terminology (10 marks)
Tanya received 39/50 for the following answer, however I think it is very repetitive and further marks could have been gained in more detailed analysis of mirco elements.
In this sequence of Doctor Who, the beginning consists of a female, Martha, entering a spacious and futuristic room, lead in by two male guards in black and with guns. The portrayal of males being guards is a dominant ideology of men being agressive and having control over women. The guns are a motif of war. This representation of males therefore invites the audience to straigh away feel antagonistic towards men and empathetic and sympathetic towards Martha. The camera is positioned at a high angle over Martha, as she kneels before the man in a black suit upon a platform. This angle over Martha connotes the idea of insignificance, and victimises her, a stereotypical representation of a female being victimised.
The man upon the platform however; is conveyed completely contrasting with Martha. His smart black suit enforces the idea of power and significance, as opposed to her ordinary, slightly scruffy attaire. A low angle shot is used for the man, connoting the idea of power and dominance. His placement upon the platform enforces his status as higher than those beneath. This representation of the man, enforces the dominant ideologies of makes, being dominant and powerful. His suit reflects the theme of business, a popular motif with storylines based around males. The audience is therefore invited to feel opposed to the men represented in this extract.
The non-diegetic music, as Martha enters and the sequence begins, is strongly masculine, as it uses loud, harsh instruments, and is bold with an undertone of male singers further masculinising the opening to the sequence. The music sounds slightly western at the beginning - relating to western films where usually two men would have a "stand off" in the town. This representation is therefore masculinised due to the sound, which relates to westerns, a predominantly male skewed culture. The idea of a stand off is created because of this music and the mise-en-scene of Martha's costume, paired with the masculine music confuses the stereotypical representation of a woman and challanges dominant ideologies based around female roles.
Martha's clothes are dark, slightly masculine and scruffy. This presentation of her therefore masculineses her slightly, perhaps representing the fact that she owns some form of power over the man, that is not yet revealed. Others may interpret this sense of masculinity entwined with the presentation of her being a victimised and insignificant as the representaiton of males dominating society - overthrowing the sense of femininity in society.
Another technique which aids in presenting Martha as an insignificant female is how the camera slowly tracks with her as she slowly moves forward. This connotes the idea of distance from everyone else, as she moves towards danger. This sequence at the start, constructs a representation using mainly dominant ideologies of men and women. For example the two women standing on the equal platform as Martha, are wearing maids outfits - a stereotypical representation of females serving men. There are several men on the high platform wearing smart suits, representing their authority and dominance again re-enforcing the dominant ideologies of men being in control over women. This is a stereotypical representation of men over women.
However there are some characters that confuse this representation. There is a woman in red standing on the high platform, a low angle shot on her. The low angle shot represents her importance and dominance, and the red of her dress is a representation of power, sexuality and perhaps anger. The fact that she is standing higher than the man talking to Martha, connotes the idea that she is of higher power than him - which is later significant as he is overthrown, and this woman helps do this. This is a positive representation of women.
As the sequence develops, Martha and the man in the suit switch roles of power, as the man becomes less significant and Martha and everyone else on the lower platform take power. Therer is a pink light on the side of the mans face as Martha tells her story to defeat him. This could be seen as a representation which feminises the man as gradually, through the telling of Martha's story we see hime become less powerful. The tracking shot is used on him to represent his defeat.
At the end there is a high angle shot over theman, as he is defeated. This represents him as weak and insignificant a role reversal between him and Martha. This is challenging the dominant ideologies of men, as his power is stripped from him by a woman. Low angle shots are then used over Martha a representation of her importance.
The theme of motherhood and sisterhood is created - a stereotypical representation of women as Martha and the other two women embrace.
To conclude, dominant ideologies are challenged and re-enforced in this sequence as we see subversive and non-subversive representations of both men and women - a result of the combination of coed and conventions in this piece.
Stronger candidates could provide an integrated analysis of the extract through analysis of key examples identified. These candidates explored how the technical features could be applied using a combination of the technical features, for example, in discussion of the argument that takes place between the Master and Martha. Stronger candidates could then place this sequence of conflict in it’s mise en scène (the spaceship, with reference to cross cutting to the flashback sequence on Earth), through the use of shot reverse shot (and editing) between Martha and the Master, camera types used and through the analysis of sound also discuss the Master’s emasculation of power and authority. Weaker candidates could list many technical aspects, with varying degrees of accuracy, but struggle to say anything meaningful about the representation of gender.
Either of these approaches to the structure of question one is advisable and centres need to plan and help structure the candidate’s responses in the classroom. It is advised against preparing candidates to word a long and lengthy introduction about what they are going to answer, or give theoretical introductions and/or historical contexts to television drama. Question one does not require a discussion of the generic qualities of the television drama.
It is also important that candidates move from description of key technical areas to analysis of how representations are constructed. This will enable candidates to achieve higher notional marks for their responses and avoid sets of basic answers, which on occasion in this session offered quite general textual analysis. These types of responses lacked focused discussion of the representation of gender.
The mark scheme enables credit to be awarded to students at three different levels Explanation, Analysis and Argument (20 Marks), Use of Examples (20 Marks) and Use of Terminology (10 Marks). Under the use of examples, the mark scheme does not credit a notional level four (16-20) when only three technical areas are discussed, therefore making it less likely that a candidate can be awarded the highest possible marks.
On the whole the use of media vocabulary was very good, but could centres please note that there are up to 10 marks available for the use of media terminology – hence the previous recommendation that candidates should be encouraged to use the appropriate media terminology. Good advice for centres is to encourage candidates to keep vocabulary lists. There were a significant number of candidates who still adopted an overly simplistic approach – centres need to encourage candidates to use appropriate technical language for precision in analysis and to make sure that they avoid superficial terms like cameras 'switching' or 'jumping', and know the difference between zooms and tracking or avoid describing characters as 'goodies' and 'baddies'.
Examboard Comments on candidate’s responses to Question 1 – Television Drama
There was plenty of evidence that the question set on gender and representation and the extract Doctor Who achieved the desired differentiation of candidate responses. The extract was approximately five minutes in length and enabled the candidates to engage with the key skill of textual analysis using the four technical features: Camera shot, angle and composition, mise en scène, editing and sound. Of these technical area’s, camera work and mise en scène were by far the most comfortable concepts the candidates addressed, with editing and sound the least, despite many improved attempts to address these technical features. Candidates responses, which did not link technical analysis to gender representation often lacked focus in their answers on how gender, was constructed through the technical features of the extract.
Candidates structured their responses in a number of ways for question one. Some began by addressing the concept of representation in the extract and a discussion of the representational differences between The Master the challenging stereotype of Martha Jones and contrasted this with the Doctor and other characters in the extract. Or on the other hand, the candidates would address the technical areas one by one.
There was plenty of evidence that the question set on gender and representation and the extract Doctor Who achieved the desired differentiation of candidate responses. The extract was approximately five minutes in length and enabled the candidates to engage with the key skill of textual analysis using the four technical features: Camera shot, angle and composition, mise en scène, editing and sound. Of these technical area’s, camera work and mise en scène were by far the most comfortable concepts the candidates addressed, with editing and sound the least, despite many improved attempts to address these technical features. Candidates responses, which did not link technical analysis to gender representation often lacked focus in their answers on how gender, was constructed through the technical features of the extract.
Candidates structured their responses in a number of ways for question one. Some began by addressing the concept of representation in the extract and a discussion of the representational differences between The Master the challenging stereotype of Martha Jones and contrasted this with the Doctor and other characters in the extract. Or on the other hand, the candidates would address the technical areas one by one.
This mark scheme is more able to credit answers, which have different strengths, and this session, the marking of candidates’ papers revealed the flexibility in its application, according to the standards set. It is advisable that centres make the mark scheme available to candidates for the next exam session so that they are aware of how the work is assessed. This could also be used for the marking of timed assignments in the classroom and for the marking of mock exam papers. Finally it is important that candidates address a balance in their responses to all the technical features used in the extract to construct meaning, at times some candidates would focus too much on specific ‘micro’ aspect of the television drama, for example writing a whole side on the use of mise en scène.
Camera Shot, Angle and Composition
This technical feature was well addressed by the candidates overall. Most candidates had a media vocabulary, which addressed the technical features of television drama. Where candidates used the correct terminology and could describe shot composition, this on the whole was well done. Weaker candidates were able to describe key shots used in exemplification, but would often lack explicit links to how these shots assisted in the construction of the representation of age. As with the January 2009 session, please be aware that terms ‘insert’ shots and ‘wide’ shots and the ‘tilt’ shot and ‘jump’ shot are common misconceptions/ vocabulary used by candidates. Many candidates argued how shot construction represented the juxtaposition of power between the antagonist and protagonist in the extract. It would have been encouraging to see a wider range of examples of shot sizes and camera movement referenced in relation to a sequence's representations.
This technical feature was well addressed by the candidates overall. Most candidates had a media vocabulary, which addressed the technical features of television drama. Where candidates used the correct terminology and could describe shot composition, this on the whole was well done. Weaker candidates were able to describe key shots used in exemplification, but would often lack explicit links to how these shots assisted in the construction of the representation of age. As with the January 2009 session, please be aware that terms ‘insert’ shots and ‘wide’ shots and the ‘tilt’ shot and ‘jump’ shot are common misconceptions/ vocabulary used by candidates. Many candidates argued how shot construction represented the juxtaposition of power between the antagonist and protagonist in the extract. It would have been encouraging to see a wider range of examples of shot sizes and camera movement referenced in relation to a sequence's representations.
Mise en scène
This technical aspect was by far the most comfortable used by the candidates. There was plenty of evidence of candidates’ discussion of clothing and props, visual iconography and character, for example the power and authority at the beginning of the sequence of the Master, dressed in formal attire, who exerts his authority and domination in his body language expression and speech. More able candidates would be able to contrast the gender representation of different characters through the mise en scène and how the roles of the different characters changed, for example, how Martha Jones becomes a symbolic messenger and on more than one occasion the team of examiners noted that there was some excellent analysis of the mise en scène focused on hierarchies and power.
Setting, although a little more problematic for some, was used well in discussion of the range of representations of gender used in the extract. More able candidates would move beyond description and use the technical features of mise en scène in order to discuss the signification of the representation of gender. For example, candidates analysed important moments in the extract when the Master’s empire and power was represented by the spacecraft and reference to the silver orbs in space, juxtaposed with cutaway’s to the missile silo, as representative of the Master’s domination. This represents the degree of sophistication in some candidate’s responses and there were a vast range of interpretations of the text by candidates.
Candidates were able to account for costume and props as key elements in mise en scène, though many are still wedded to deterministic colour analysis, which is misleading and naïve, for example, "the female character's dress is red which is a signifier of danger". The aspect least discussed of mise en scène was lighting, which was often commented upon without adequate analysis, for example the lighting was dark and the character of the Master was therefore evil. Special effects were often commented upon, quite legitimately in the discussion of the representation of gender to varying degrees of success.
This technical aspect was by far the most comfortable used by the candidates. There was plenty of evidence of candidates’ discussion of clothing and props, visual iconography and character, for example the power and authority at the beginning of the sequence of the Master, dressed in formal attire, who exerts his authority and domination in his body language expression and speech. More able candidates would be able to contrast the gender representation of different characters through the mise en scène and how the roles of the different characters changed, for example, how Martha Jones becomes a symbolic messenger and on more than one occasion the team of examiners noted that there was some excellent analysis of the mise en scène focused on hierarchies and power.
Setting, although a little more problematic for some, was used well in discussion of the range of representations of gender used in the extract. More able candidates would move beyond description and use the technical features of mise en scène in order to discuss the signification of the representation of gender. For example, candidates analysed important moments in the extract when the Master’s empire and power was represented by the spacecraft and reference to the silver orbs in space, juxtaposed with cutaway’s to the missile silo, as representative of the Master’s domination. This represents the degree of sophistication in some candidate’s responses and there were a vast range of interpretations of the text by candidates.
Candidates were able to account for costume and props as key elements in mise en scène, though many are still wedded to deterministic colour analysis, which is misleading and naïve, for example, "the female character's dress is red which is a signifier of danger". The aspect least discussed of mise en scène was lighting, which was often commented upon without adequate analysis, for example the lighting was dark and the character of the Master was therefore evil. Special effects were often commented upon, quite legitimately in the discussion of the representation of gender to varying degrees of success.
Sound
There was some improvement in the discussion of sound since January’s session, although there was still plenty of evidence of candidates omitting or offering minimal discussion of sound from the textual analysis. Whilst there was some excellent reference to how sound assisted in the understanding of the construction of gender, for example, in discussion of synchronous/ non synchronous sound in relation to the ticking clock as a symbolic omnipresence of the Master’s power.
However, candidates often discussed this technical feature with some limitations, with some focusing solely on the use of dialogue between two characters. Candidates did also relate the use of non-diegetic sound to the triumphant victory of the Doctor over the Master at the end of the sequence. The use of non-diegetic sound to emphasise Martha’s role as a messenger was often commented upon, as was the reference to the ‘spaghetti western’ music at the beginning of the extract as a signpost for the showdown that was about to commence. The ‘spaghetti western’ feel of the initial music was signposted by candidates because they felt as though Martha was heading towards her doom.
Often weaker candidates showed confusion with technical terminology, referring to ambient sound which was not shown in the part of the sequence they referred to, or simply getting diegetic and non-diegetic sound the wrong way round. The analysis of sound is more than just dialogue and weaker candidate responses may interpret the soundtrack/use of music in too general analysis. Centres should also consider more carefully the role that sound effects have in the construction of meaning, particularly in relation to the diegetic reality of the drama. It is advised that centres do cover the technical features of sound thoroughly in order to give candidates an opportunity to fully engage with the analysis of the extract.
There was some improvement in the discussion of sound since January’s session, although there was still plenty of evidence of candidates omitting or offering minimal discussion of sound from the textual analysis. Whilst there was some excellent reference to how sound assisted in the understanding of the construction of gender, for example, in discussion of synchronous/ non synchronous sound in relation to the ticking clock as a symbolic omnipresence of the Master’s power.
However, candidates often discussed this technical feature with some limitations, with some focusing solely on the use of dialogue between two characters. Candidates did also relate the use of non-diegetic sound to the triumphant victory of the Doctor over the Master at the end of the sequence. The use of non-diegetic sound to emphasise Martha’s role as a messenger was often commented upon, as was the reference to the ‘spaghetti western’ music at the beginning of the extract as a signpost for the showdown that was about to commence. The ‘spaghetti western’ feel of the initial music was signposted by candidates because they felt as though Martha was heading towards her doom.
Often weaker candidates showed confusion with technical terminology, referring to ambient sound which was not shown in the part of the sequence they referred to, or simply getting diegetic and non-diegetic sound the wrong way round. The analysis of sound is more than just dialogue and weaker candidate responses may interpret the soundtrack/use of music in too general analysis. Centres should also consider more carefully the role that sound effects have in the construction of meaning, particularly in relation to the diegetic reality of the drama. It is advised that centres do cover the technical features of sound thoroughly in order to give candidates an opportunity to fully engage with the analysis of the extract.
Editing
As with the January 2009 session, this technical area proved to be the most problematic for candidates and the one technical area of analysis that was often omitted in candidate’s answers.
Most candidates who addressed editing were able to address the type of transitions used and could comment on the pace of the editing. Indeed most candidates would recognise the use of the flashback, as an elliptical device in the narration of the story and this technical element was the most common discussed in candidates’ answers. Weaker candidates often omitted any discussion of editing or offered quite simplistic accounts of how editing was used, for example in the use of the shot reverse shot sequence between the Master and Martha.
More able candidates could analyse technical issues of editing by way of analysis of the ellipsis, accounting for how the extract collapsed a series of events, for example, in explaining the narrative to represent Martha as the messenger and helper who communicates the need to save the world. Candidates were able to comment on pacing and the use of continuity, most often through the shot reverse shot compositions in the extract and some through the use of sound as well. These candidates cleverly discussed how soundbridges were constructed through the use of non-diegetic music in the representation of gender, for example, the orchestral and triumphant mood music representing the power of the Master.
As with the January 2009 session, this technical area proved to be the most problematic for candidates and the one technical area of analysis that was often omitted in candidate’s answers.
Most candidates who addressed editing were able to address the type of transitions used and could comment on the pace of the editing. Indeed most candidates would recognise the use of the flashback, as an elliptical device in the narration of the story and this technical element was the most common discussed in candidates’ answers. Weaker candidates often omitted any discussion of editing or offered quite simplistic accounts of how editing was used, for example in the use of the shot reverse shot sequence between the Master and Martha.
More able candidates could analyse technical issues of editing by way of analysis of the ellipsis, accounting for how the extract collapsed a series of events, for example, in explaining the narrative to represent Martha as the messenger and helper who communicates the need to save the world. Candidates were able to comment on pacing and the use of continuity, most often through the shot reverse shot compositions in the extract and some through the use of sound as well. These candidates cleverly discussed how soundbridges were constructed through the use of non-diegetic music in the representation of gender, for example, the orchestral and triumphant mood music representing the power of the Master.
Overall candidate’s analysis of editing was satisfactory but, many candidates ignored this area completely or dealt with it in a perfunctory fashion. Very few candidates seemed willing or able to link editing to representation by, for example, showing how the editing created particular viewpoints which we are encouraged to identify with or how screen time indicated the shifting relationship between protagonists and antagonist in the sequence. With the right preparation, candidates can engage with the nuances of editing under exam conditions, with evidence that they could discuss crosscutting, eye line match and ellipsis in the extract. The lesser able candidates would refer simply to the continuity of the extract without reference to any of the technical aspects expected of them to use.
As in the last examiner’s report, the advice offered to centres is to encourage as much practice on the concept of editing as possible and how this assists in the construction of representation. Again begin with identifying the techniques and encourage students to apply these to a range of examples in class and importantly, test them on this. A balanced and high level notional mark requires all the technical features to be addressed in the candidate’s answer.
As in the last examiner’s report, the advice offered to centres is to encourage as much practice on the concept of editing as possible and how this assists in the construction of representation. Again begin with identifying the techniques and encourage students to apply these to a range of examples in class and importantly, test them on this. A balanced and high level notional mark requires all the technical features to be addressed in the candidate’s answer.
Representation
The candidates appear to have enjoyed the discussion of representation in this extract. There were a wide range of interpretations offered by the candidates, but the dominant reading of the text focused on the male as powerful and the female as dominated, to more sophisticated readings of gender representations, including how the representation of Martha’s character changed and gender stereotypes changed. The most sophisticated responses could argue that a range of gender representations had been used and provided a full range of exemplification.
This key media concept was either addressed at the beginning of the candidates’ answers or at the end. Candidates were able to relate the representation of a variety of gender groups closely to the textual elements of the extract. There was some solid analysis of gender and how it can be stereotyped in a variety of ways: female emotionality; male authority; changing shift of power between genders in the extract and other sensibly reasoned representations, such as men as users of force/ violence as opposed to women as unifiers/ action with words.
Some good examples in the candidates’ responses included: Martha, as a messenger was empowering in overcoming the Master, the Master was represented as dominant and all powerful, but by the end of the extract, defeated by the male Doctor, the Doctor was initially represented as feeble and emasculated in the bird cage, but the transformation of the Doctor by the end of the extract and through analysis of the mise en scène (lighting and special effects) is the dominant all powerful male. More perceptive candidates could illustrate the Master’s wife as a trophy, the Doctor as saviour and Martha as the helper.
There was throughout candidates’ answers good discussion of stereotypes, particularly around the challenge of expected stereotypes in the text, through the character of Martha Jones. Weaker candidates failed to focus on the representation of gender, limiting their analysis to relating everything to power with oppositions – men as superior in antithesis to women as inferior or the technical textual analysis failed to explain how gender representations were constructed.
The candidates appear to have enjoyed the discussion of representation in this extract. There were a wide range of interpretations offered by the candidates, but the dominant reading of the text focused on the male as powerful and the female as dominated, to more sophisticated readings of gender representations, including how the representation of Martha’s character changed and gender stereotypes changed. The most sophisticated responses could argue that a range of gender representations had been used and provided a full range of exemplification.
This key media concept was either addressed at the beginning of the candidates’ answers or at the end. Candidates were able to relate the representation of a variety of gender groups closely to the textual elements of the extract. There was some solid analysis of gender and how it can be stereotyped in a variety of ways: female emotionality; male authority; changing shift of power between genders in the extract and other sensibly reasoned representations, such as men as users of force/ violence as opposed to women as unifiers/ action with words.
Some good examples in the candidates’ responses included: Martha, as a messenger was empowering in overcoming the Master, the Master was represented as dominant and all powerful, but by the end of the extract, defeated by the male Doctor, the Doctor was initially represented as feeble and emasculated in the bird cage, but the transformation of the Doctor by the end of the extract and through analysis of the mise en scène (lighting and special effects) is the dominant all powerful male. More perceptive candidates could illustrate the Master’s wife as a trophy, the Doctor as saviour and Martha as the helper.
There was throughout candidates’ answers good discussion of stereotypes, particularly around the challenge of expected stereotypes in the text, through the character of Martha Jones. Weaker candidates failed to focus on the representation of gender, limiting their analysis to relating everything to power with oppositions – men as superior in antithesis to women as inferior or the technical textual analysis failed to explain how gender representations were constructed.
Waterloo Road (Age)
Waterloo Road
Series 5 - Episode 5 - Clip Analysed (2mins 30 - 8 mins)
Unfortunately the clip is nolonger avaliable to watch but have a good read through and see how i've interpreted the representation of youth.
Mrs Shipp's notes
Scene 1 - A car pulls up outside the school gates signified by the visual code of the yellow lines and school road markings.
Scene 2 - Teacher drops of boy prior to the gate.
Series 5 - Episode 5 - Clip Analysed (2mins 30 - 8 mins)
Unfortunately the clip is nolonger avaliable to watch but have a good read through and see how i've interpreted the representation of youth.
Mrs Shipp's notes
Scene 1 - A car pulls up outside the school gates signified by the visual code of the yellow lines and school road markings.
- A Mother is dropping off her son and daughter. She is on a mobile phone. The auditory code of the dialogue denotes that she is telling someone to "act up"as she has some "stock taking to do". The conversation is inter cut with close-up reaction shots of the children in the back seat looking disapproving through the mise-en-scene of their character movement, (facial expressions) mothers conversation signifying that she is not telling the truth. Representing the mother as a liar and connoting that she is possibly trying to "bunk off" work. This juxtaposes the stereotypical representation of school children trying to avoid lessons as she is supposed to be the responsible adult.
- It becomes clear that it is the girls birthday however through the dialogue and character movement it is obvious that she's not happy. This representation fulfils the dominant image of "stroppy" teenagers while at the same time encouraging the audience to ask questions why she's not happy on her birthday. The edited shot-reverse-shot between the mother and daughter is broken by the use of a cutaway which portrays the arrival of a white van driven my a man. The audience questions who he is as initially he is represented as someone watching the action uninvited, creating a sinister representation of the character.
- As the conversation turns to the girls father and broken family "You made dad leave!" and "I don't want to spend my birthday with your boyfriend" we, the audience are able to construct the narrative that the man is her father. At the same time the mother is trying to convince the girl of the boyfriends intentions and tries to justify that she should be allowed to be happy. This falls another teenage stereotype of being selfish, which is re-enforced when the mother offers to pick her up only to be greeted with "Don't Bother".
- As a irregular viewer the audience is left slightly confused as neither the mother or girl have an ideological representation and therefore the programme isn't reflecting a bias towards either of them in this opening sequence, however this might change as the programme / episode progresses.
Scene 2 - Teacher drops of boy prior to the gate.
- This short scene represents the idea that a boy, who might be very good at football finds it difficult to fit in with the boys playing football as through his character movement and facial expressions he looks pensive, emphasised by the shot size of a MCU. This representation is exaggerated by the long shot depicting the distance between the characters.
- A boy is leaning up against a tree wearins school uniform.
Cast Off's Student Response (Exam Practise)
http://www.youtube.com/watch?v=dt6dOJbifoM&has_verified=1
This essay was written by student Charlotte Bateman following a class discussion on the first ten minutes of the episode.
The programme starts off in a strange manner with the establishing shot being a low angle shot in a canted camera position showing someone falling out of a wheelchair. This causes confusion if you are lacking knowledge of the programme as the man stands up. We find that he is in fact the father of Dan and as he references Jeremy Clarkson we see the attitude he has over his sons situation. (SHIPP - Could have also talked about representation of Jeremy Clarkson and the messages he is conveying at this point about his son by comparing the two.)
This is added to when Dan asks if the wheelchair is broken rather than his dad's safety. As the dad seems to be taking the mickey we get the impression they don't have the closest relationship, also when he says 'higher than a supermodel in a hot air balloon', which references that he is unable to have a sexual relationship. (SHIPP - Negative Stereotyping.)
The diegetic dialogue, no music, hand-held camera movement potentially connotes the documentary style and makes the audience immediately pay attention because of the serious content. Also the fact that there are no cuts and the dad addresses the camera as if directly speaking to the audience. (SHIPP - Representation o f reality and believability)
We are then transported (SHIPP - Cut ) to the journey to the island on the boat at sea. Dan does not look at the camera and has no interaction which could connote the isolation and vulnerability he feels. (SHIPP - mise-en-scene of facial expressions) He also seems in deep thought, most likely from four months back in basketball as we see a visual code after of this idea. The documentary style idea is reinforced with the loud sound of the waves as it shows lack of editing, however it seems like a hyperbolic sound for narrative effect. Also the inclusion of text, (SHIPP - Superimposed) of the time and day acts with the style, plus helps calculate the time it takes Dan to get across the beach in the programme. (SHIPP - Representation of time taken.)
As we see it takes him a very long time the audience feel sympathy, however try not to as that is not what the programme wants to promote. It wants to show the positive in that even though they are disabled they can survive as people have in shows such as Shipwrecked, making everyone equal. The mise-en-scene with his outfit reinforces vulnerability in that he is wearing a protected life jacket in yellow which is padded and stands out.
This then cuts to a steam room where his basketball team are sitting. This is quite stereotypical as basketball is always the sport people link with wheelchair disabilities. This scene gives off sexual connotations as the men are simply wearing towels and the camera shot is from the waist down framing out what else they may be wearing. Also there is a strange ritual they perform where Dan has to wash the hands of another player. The diegetic dialogue seems slightly sexualised in that he says "get right between the fingers" and "soft hands". The idea of washing the hands links back to the disability in that you need someone else to wash you, however it is shown in a less serious manner.
The programme then returns to the Island where the boat has reached shore. The establishing long shot emphasises a remote location but at the same time distance to travel. Dan is carried off the boat and dumped on the beach whilst his wheelchair is brought to him by the same person. It seems an odd order to take events as usually they would be in reverse. The man does not speak a word, possibly because he is just doing his job and doesn't care or, harshly for Dan, just doesn't want to speak to him.
Sympathy for Dan starts occurring and is reinforced immediately with a shot framing focus on the wheels, which are tilted to make it easier to travel. We know from the time updates it takes him around an hour to get to camp which was not that far away as the camera men directs beforehand. Although you do feel sorry for Dan you truly want him to succeed. Dan is a very determined boy and sets off on his 'adventure' as he says, showing he is excited for the experience ahead. This makes the audience slightly ashamed because they thought that, as he was in a wheelchair, he wasn't capable.
The documentary style format is very visible in the next scene where Dan is sitting in his 'new' bedroom giving a direct interview to the camera, however without the audience hearing the questions. The lighting adds to this theory in that it is realistic, available light. Also in the editing with many jump cuts signifying the cutting out of irrelevant material. (SHIPP- Reinforcing representation of documentary style)
Dan gives the impression he is not happy with the result of the accident and gives a negative outlook on life ahead by the way he repeats 'new me' with a disappointed view. An example is him telling us that he is in his bedroom, then correcting himself with 'new', as his actual bedroom is upstairs and inaccessible to him. The room is presented in a childish manner with the blue walls, posters, stereo and untidiness, possibly connoting that his disability has made him more of a child because he needs to be aided in many aspects of his life. Yet the gift from his dad of a basketball signifies a good emotion in his new life.
As the programme progresses we see many sides to Dan. One being i the basketball game where he looks uncomfortable and keeps looking at his dad. I believe this shows he wants to do well and impress him. We also see his determination along the beach where he pushes on even though the distance is great, especially the heavier impact the sand can cause. One particular moment when he stands out is when he meets the others. They all describe themselves as 'the monkey who can't...' As there was an embarrassing moment with April (another person), Dan takes off the pressure by implying he is 'evil;, which moves the focus.
Dan represents a boy trying his best to fit in and adjust to disabled life. He truly emphasises the normality of himself as a regular boy even in a wheelchair. Although he is not able physically his determination gives him a positive representation.
Cast Off's (Ability / Disability)
Cast Off's - Dan Episode 1. Unfortunately the clip can't be embedded. Here is the website link (hope it still works)! Click here
Bleak House Example Response
As a class we analysed this sequence of Bleak House for the exam elements of Camera, Mise-en-scene, Editing and Sound. Here is a record of the outcome.
Scene 1
We hear diegetic dialogue and notice that their voices are also posh (SHIPP - educated) in a well spoken manner which again is different from the cockney accents on the street. The editing of camera movements continues to have that fast pace moving in sharply from different angles focusing on different things (SHIPP - don;t use this word, not specific enough). The zoom especially looks effective as it grabs your attention and is unexpected.
Zoe - There is a high angle shot as the "Wards of Court" enter, connoting that they are less important.
SHIPP - There then follows shot-reverse-shot editing as the Lawyer introduces the boy and girl. The framing is interesting at this point because the shoulder of one each character intrudes the framing of the character speaking significantly drawing the audience attention to the dialogue being spoken. As which point the Lawyer asks that the Judge see another young person, a companion for the girl so that they might go and stay with John Jaundice. Therefore the representation of the girls status is acknowledged as she is important enough to have a companion to help her develop as a "young lady".
Scene 1
Kelly - During the extract of Bleak House there appears to be a variety of different representations of social class and status. SHIPP - Through the visual mise-en-scene codes of costume and props (horse and cart) it is possible to identify conventions associated with period dramas. Therefore any analysis of representation will need to take into account the time period being represented and how this might affect the audience reception of the text as differences in social class and status were significant in the time of Charles Dickens writings.
The episode begins with the loud (SHIPP - hyperbolic) sound of weather connoting the pathetic fallacy representation, used to emphasise the fact that something bad is about to happen. SHIPP - The addition of weather special effects allows for an intensely directed rain fall potentially signifying the considerable difficulties of the journey that the young women is about to undertake.
Charlotte - The establishing shot of the outside of a house with a horse and carriage. It is raining heavily with the loud sound of thunder striking in the background, yet with a non-diegetic instrumental playing alongside building a panicked tone with links with the quick camera movements. (Shipp - anchored with the visual code of fast Steadicam camera movements disorientated the audience and builds upon the enigma. The intensity of the drama is aided by the close up cutaway shots of horses hooves, feet on stepping platform and other character movements.)
One of the first shots, being a quick zoom, just after the finishing title disappears (SHIPP - this statement needs finishing) . The scene consists of people putting items onto the horse and cart. These people could be of a lower class in that they are acting in some way as servants for the character Esther who is getting in. Their costume of the mise-en-scene is also less grand than others in following scenes, adding to this idea.
SHIPP - Reflecting back on the representation of the period it is possible to connote that horse and cart was the only way to travel at speed. However this could be read in two ways, either the female character (Esther) has the financial means to travel, however isn't significantly wealthy to run her own horse and carriage. This is represented in that she isn't covered with an umbrella held by a servant and that she is leaving from a town "pub" building rather than a private residence.
Kelly:
The mise-en-scene of the characters movement hides their faces, the denotation of this reinforces a secretive representation. As the footage continues the text is superimposed over the top to give indications of character names. Within this scene the pace is increasingly fast, with this in mind audiences remain in suspense as they don't know what will happen next. The lighting anchors with the hyperbolic sound in the sense that we are aware that a dramatic event will take place. The lighting is dark and "dingy" representing a negative social class.
Throughout we hear a number of hyperbolic sounds such as the horse, whip and reins which help build the harsh atmosphere. As well as the variety of shots and camera angles which (SHIPP - hard cut) move quickly from each other. The representation of class is not clearly apparent in this scene as it seems to draw your attention to the rushing of actions with the hyperbolic sounds and fast editing and the dark lighting alongside the flashing of lightning. This scene also juxtaposes the following as the court scene is more sincere, with the authority of the judges apparent. We also get a clearer image of higher class status.
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Scene 2
Charlotte - The next scene immediately draws you in with a fast zoom (SHIPP "crash zoom") to a high angle shot looking down on a courtroom filled with people. The room is dark, with candles for lighting making a more peaceful setting yet is contradicted in the ironic theme of shouting and arguing to solve the cast. We immediately get the sense that the people are of a higher class in that they are judges because of their wigs. This notion is also reinforced in the mise-en-scene of costume which is smart with the cloaks or shirts that contrasts later on with the lower classes, shown through the boy for example, with a more rugged, scruffy look with browns and cheap material.
Charlotte - The next scene immediately draws you in with a fast zoom (SHIPP "crash zoom") to a high angle shot looking down on a courtroom filled with people. The room is dark, with candles for lighting making a more peaceful setting yet is contradicted in the ironic theme of shouting and arguing to solve the cast. We immediately get the sense that the people are of a higher class in that they are judges because of their wigs. This notion is also reinforced in the mise-en-scene of costume which is smart with the cloaks or shirts that contrasts later on with the lower classes, shown through the boy for example, with a more rugged, scruffy look with browns and cheap material.
We hear diegetic dialogue and notice that their voices are also posh (SHIPP - educated) in a well spoken manner which again is different from the cockney accents on the street. The editing of camera movements continues to have that fast pace moving in sharply from different angles focusing on different things (SHIPP - don;t use this word, not specific enough). The zoom especially looks effective as it grabs your attention and is unexpected.
Kelly - The second scene of Bleak House significantly juxtaposes with the beginning opening scene. The mise-en-scene during the courtroom is stereotypical and reinforces the image of courts we receive through other TV dramas. The opening camera shot is a high angle shot looking down giving an establishing shot of the surroundings SHIPP - There is a distinctive mise-en-scene for the stereotypically dressed court workers, this is represented through the smart clothes and their wigs.
Character movement dramatically changes when an intruder breaks in the courtroom. Within this judgement of class it is apparent what characters differ from others. The denotation of the mise-en-scene helps represent different status. Later on in the clip we see a second court scene. in which the diegetic dialogue used links the characters with more authority.
Anthony - The lawyers are dressed smartly to connote the upper classes where as the spectators are in dirty rag like clothes.
SHIPP - The conversation begins by following the match-on-action of dialogue, representing the relationship between the Judge (connoted by difference in wigs) and the Lawyer (Mr Tangle). However as the conversation progresses the editing remains with the Judge more and more, capturing his reactions, signifying his hierarchical status over the Mr Tangle (Lawyer). The Judges despair over the way the case is being presented (it having been going a long time) is emphasised through the characters movement of rubbing his temple with his fingers. At this point there are a number of cutaways that signify the interested parties in the case being discussed, smartly dressed and seated in the locality of the lawyers signifying that they too are of this status. The Lawyer is further demeaned as he gradually sinks into his chair, following instructions given by Mr Tulkinhorn whose body language signifies that Mr Tangle shouldn't continue this line of enquiry. The representation of social status and class is incredibly evident with Mr Tangle working for Mr Tulkinhorn and being the bottom of the group. This representation is anchored in the dialogue given by the Judge "I see Mr Tulkinhorn has graced us with his presence"... the very choice of words "graced" signifies that this is a rarity and should be "honored" however the way in which this line is delivered suggests that it is sarcastic and in a way letting Mr Tulkinhorn know that he isn't the highest power in this courtroom.
An auditory code of a storm bridges the scenes.
An auditory code of a storm bridges the scenes.
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Scene 3
David (I think) - The long shot size of the old house is a good representation of the social class and status. The angle is from what appears to be woods in the estate allowing the audience to see the large cobbled house with many windows. This can show wealth because many windows can represent many rooms signifying wealth and importance within the locality. Although the rain juxtaposes this as it also connotes a gloomy and depressing atmosphere within. SHIPP - therefore we can acknowledge that wealth doesn't necessarily mean happiness!
David (I think) - The long shot size of the old house is a good representation of the social class and status. The angle is from what appears to be woods in the estate allowing the audience to see the large cobbled house with many windows. This can show wealth because many windows can represent many rooms signifying wealth and importance within the locality. Although the rain juxtaposes this as it also connotes a gloomy and depressing atmosphere within. SHIPP - therefore we can acknowledge that wealth doesn't necessarily mean happiness!
Amber - In scene three we are presented with a large depth of field shot of a young woman and an older man. Immediately, we assume that they are married or emotionally attached from the diegetic dialogue, 'my love'. The man says these words first then followed by her response. Although when the woman replies 'my love' she seems to pause before she says it very unenthusiastically. This brings out the idea that she in fact does not love him and is only married to him because of his obvious wealth or status (SHIPP - a common occurrence for this period of time, therefore representing the social status) . These feelings are confirmed by her diegetic words 'I am terribly bored of it. Bored of my life. Bored of myself.' Because if she was married to a man whom she truly loved we assume she would not feel this way and talk to him with much more respect.
SHIPP - Her repetitive dialogue and connoted repetition of her feelings towards her situation is further enhanced by the edited change of camera angle for each statement, drawing the audiences attention to the phrasing and therefore her representation. This use of camera anchors with the opening camera shot (the large depth of field shot described by Amber) which seems to almost stretch the room around her. I'm not sure of the technique they have used but they have signified to me that the room is almost consuming her. This is partly done with the women being so pronounced in the foreground of the frame and slightly brighter in lighting, presumably from the natural light for the window, despite the rain. The final thing that draws me to this interesting use of camera work is that in the previous shot of the woman looking out of the window, she is very close to the window and the camera is on the outside. However when we return to the shot mentioned above the camera is on the inside yet the positioning with the widow seems irrelevant. It's almost as if the producers have played with our spacial awareness, a theme which is picked up later in a scene with Esther. By drawing the audience into using "experimental" camera work we are draw to her being represented as a key character for the plot and perhaps the positioning of females in society of this time.
SHIPP - Her repetitive dialogue and connoted repetition of her feelings towards her situation is further enhanced by the edited change of camera angle for each statement, drawing the audiences attention to the phrasing and therefore her representation. This use of camera anchors with the opening camera shot (the large depth of field shot described by Amber) which seems to almost stretch the room around her. I'm not sure of the technique they have used but they have signified to me that the room is almost consuming her. This is partly done with the women being so pronounced in the foreground of the frame and slightly brighter in lighting, presumably from the natural light for the window, despite the rain. The final thing that draws me to this interesting use of camera work is that in the previous shot of the woman looking out of the window, she is very close to the window and the camera is on the outside. However when we return to the shot mentioned above the camera is on the inside yet the positioning with the widow seems irrelevant. It's almost as if the producers have played with our spacial awareness, a theme which is picked up later in a scene with Esther. By drawing the audience into using "experimental" camera work we are draw to her being represented as a key character for the plot and perhaps the positioning of females in society of this time.
Amber - The mise-en-scene of set design initiates the assumption that the man is wealthy. The furniture looks authentic and expensive. As an audience we feel that the man in the relationship holds the wealth because he seems more comfortable in his surroundings.
Zoe - The man is reading the newspaper, which for this time period would have been an "upper class" pastime as only the wealth would have been educated to read and write.
The man then begins to talk about how their lawyer, Mr Tulkinhorn, is coming to see them about "legal matters" which again that they are well educated and of the upper classes.
David - The mise-en-scene in this scene signifies wealth through the costume and the bright lighting, showing that they are wealthy as they can afford some lighting due to the dreary day.
Zoe - We start to hear the voice of the Judge (already established) who is in the next scene talking about how there has been some developments in the case of 'Jaundice and Jaundice'. SHIPP - By playing this dialogue over the scene it is effectively creating a audio bridge pulling the audience into the next scene and representing the link between the characters helping us piece together the enigmas of the narrative.
Zoe - The man is reading the newspaper, which for this time period would have been an "upper class" pastime as only the wealth would have been educated to read and write.
The man then begins to talk about how their lawyer, Mr Tulkinhorn, is coming to see them about "legal matters" which again that they are well educated and of the upper classes.
David - The mise-en-scene in this scene signifies wealth through the costume and the bright lighting, showing that they are wealthy as they can afford some lighting due to the dreary day.
Zoe - We start to hear the voice of the Judge (already established) who is in the next scene talking about how there has been some developments in the case of 'Jaundice and Jaundice'. SHIPP - By playing this dialogue over the scene it is effectively creating a audio bridge pulling the audience into the next scene and representing the link between the characters helping us piece together the enigmas of the narrative.
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Scene 4
Amber - We are taken back via a hard cut to the courtroom in scene four. They are discussing the case of 'Jaundice and Jaundice' which is repeated many times during the opening scenes by almost every character in diegetic dialogue. Because of this representation we can assume that the case is highly important if it has everyone discussing it.
Scene 4
Amber - We are taken back via a hard cut to the courtroom in scene four. They are discussing the case of 'Jaundice and Jaundice' which is repeated many times during the opening scenes by almost every character in diegetic dialogue. Because of this representation we can assume that the case is highly important if it has everyone discussing it.
Before discussing the case, the mise-en-scene of character movement by a man named Ridley as he bursts in to the court room and interrupts, demanding that his case was next connotes his lower status as he is removed from the courtroom. His clothing is less formal than that of the lawyers and because his case seems less important to discuss, they just discard it.
Zoe - There is a high angle shot as the "Wards of Court" enter, connoting that they are less important.
SHIPP - However their importance to the case and perhaps the public fascination with the young people at the center of the debate is represented when the camera angle (MCU) is on an older woman, dressed in worn clothing who looks eagerly in the direction of their arrival. So while on the one hand the boy and girl are represented as vulnerable children (see Amber's next point) they are also represented as a significant "point of order" in the case.
Amber - The 'Jaundice and Jaundice' case is of two young people who are 'wards of court'. The camera shot is a low angle on them. We associate this as them being a lower status and as an audience we should have a low perception of them. Also these young characters do not speak for themselves. We associate this as being an insult to their intelligence as they could be implying that they are not well spoken enough to speak for themselves, an association we make with children (SHIPP - seen but not heard!)
SHIPP - There then follows shot-reverse-shot editing as the Lawyer introduces the boy and girl. The framing is interesting at this point because the shoulder of one each character intrudes the framing of the character speaking significantly drawing the audience attention to the dialogue being spoken. As which point the Lawyer asks that the Judge see another young person, a companion for the girl so that they might go and stay with John Jaundice. Therefore the representation of the girls status is acknowledged as she is important enough to have a companion to help her develop as a "young lady".
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Scene 5
Toby - Within scene five of Bleak House there is a medium long shot of a horse and carriage through some trees. As this is happening the viewers can hear the non-diegetic sound of 'eerie' music in the background with the hyperbolic diegetic sound of the rain hitting the floor and the sound of horses pulling a carriage.
Scene 5
Toby - Within scene five of Bleak House there is a medium long shot of a horse and carriage through some trees. As this is happening the viewers can hear the non-diegetic sound of 'eerie' music in the background with the hyperbolic diegetic sound of the rain hitting the floor and the sound of horses pulling a carriage.
The camera then cuts in to an extreme close up of a girl in the carriage. From what the viewer can see it is clear that the mise-en-scene has a pool? set of lighting on this girl as you are only able to view half her face. This represents that she is either projecting her mood as she is thinking about something as the eye you can see is looking towards the side of the carriage.
Nicola (?) - At the beginning of this sequence when Esther is in the carriage there is an establishing close-up of her face, which then gradually tracks in in alignment with her eye. This signifies to the audience the worry and fear that is hidden in her face and initiates the flashback as we are encouraged believe that this is what she is thinking about (the same happens on the boat in Cast Off's.
A hard cut creates Esther's flashback to her younger years, when she was a small girl. Her clothes are shown to be smart (not sure i'd agree with "smart")Victorian style, again there is a close-up on her face. This reflects her worry and fear, which matches the face of her older years. This creates the representation of a younger woman, who has not clearly found her identity. There is no sound up until this point, and then Esther starts speaking. She speaks and asks the questions to a lady about her mother, who she may not have met before.
Nicola (?) - At the beginning of this sequence when Esther is in the carriage there is an establishing close-up of her face, which then gradually tracks in in alignment with her eye. This signifies to the audience the worry and fear that is hidden in her face and initiates the flashback as we are encouraged believe that this is what she is thinking about (the same happens on the boat in Cast Off's.
A hard cut creates Esther's flashback to her younger years, when she was a small girl. Her clothes are shown to be smart (not sure i'd agree with "smart")Victorian style, again there is a close-up on her face. This reflects her worry and fear, which matches the face of her older years. This creates the representation of a younger woman, who has not clearly found her identity. There is no sound up until this point, and then Esther starts speaking. She speaks and asks the questions to a lady about her mother, who she may not have met before.
Toby - There is a shot-reverse-shot of the young girl asking a woman, it is not clear who, but she is telling 'aggressively' that it is the girl's fault about her mother dying and that she would have been better off if she wasn't born. This brings us back to social class and how children have no say in what happens to them.
The girl's facial expressions show that she doesn't understand what is going on. The editing of this scene is very effective as it adds meaning to why the young girl looks so miserable within the carriage, with the lighting and weather projecting it further.
Nicola - There is a long shot of the woman to help us establish that her clothes are traditional Victorian dress and that she wears her hair tide back neatly. The woman's voice echos when she speaks, meaning she has power and a controlled woman. The lighting is dark, which creates a sense of danger towards a 'young esther'. The older woman's attitude towards Esther is very different from how children are treated today. Children were seen as an object rather than a person. Her tone of voice is loud and violent, which clearly shows the differences societies have today, back in Victorian times it was not a child centered society, and the woman and children were treated unfairly. The representation created here has a clear distinction between different societies and how their members are treated. Shot-reverse-shot is used a number of times to distinguish the differences between the two characters.
Rachel - There are various times when the camera supports the conventions of social class. High angle shots to low angle shots is a good example of this. There is evidence of this in the flashback scene where there is a high and shot on Esther (as a child) then a few low angle shots on the lady she is speaking with. The camera being over-the-shoulder emphasises the low angle shot and the importance of the women over Esther. There are also a few close-ups and tracking shots in the flashback scene, the camera tracks the women instead instead of seeing her move towards Esther. This also represents her importance over Esther.
SHIPP - All of you have some good points but some of the elements you select are not necessarily accurate in their description and you've missed loads out.
The flashback begins with a close-up of Esther looking directly into the camera and asking "Who am I exactly?" This direct mode of address immediately draws you into the characters situation and represents her as the innocent party. This is emphasised by the high angle of the shot making Esther look up and the size of shot exaggerating the mise-on-scene of the characters facial expression of concern. The hard cut between this shot and the following long shot on the woman to whom she is talking represents the distance between them and reflecting the distance in their relationship, not the closeness you would expect between a woman and a sad child! During the woman's dialogue "Your nothing....worse than nothing" there is a crash zoom in on the character representing not only the dislike of the child but, when followed with the dialogue "Your mother is your disgrace.... and you hers," the fall from status that a family name has suffered. The severity of the conversation represents the importance of social class during Dickens' time. The distance between the characters is also reflected in the dialogue when the older woman talks about Esther being "set apart". This is the second time we have seen the production play with the audience's spacial awareness, as we talked about it in scene 3. This time it is the eye-lines of the characters you need to watch as at the beginning of the scene they are looking across the distance at each other and then following the crash zoom the camera angle reflect the height difference and looking up/looking down. This disorientation makes the audience focus on the dialogue and therefore the representation of the characters.
The mise-en-scene also clearly plays its part as the only source of lighting is from the windows casting much of the room in darkness representing the place where Esther has been brought up as cold and unwelcoming. Furniture seems to be covered over signifying that the items are too good to be touched or that they are moving. The woman is also clutching a shawl around her shoulders connoting the cold temperature and lack of heating. These micro elements together with Esther using the name "Miss Parberry" signifies that she is being brought up by a nanny who to some extent is herself an outcast of the social elite as she is quite old and still a "Miss"!
Nicola - There is a long shot of the woman to help us establish that her clothes are traditional Victorian dress and that she wears her hair tide back neatly. The woman's voice echos when she speaks, meaning she has power and a controlled woman. The lighting is dark, which creates a sense of danger towards a 'young esther'. The older woman's attitude towards Esther is very different from how children are treated today. Children were seen as an object rather than a person. Her tone of voice is loud and violent, which clearly shows the differences societies have today, back in Victorian times it was not a child centered society, and the woman and children were treated unfairly. The representation created here has a clear distinction between different societies and how their members are treated. Shot-reverse-shot is used a number of times to distinguish the differences between the two characters.
Rachel - There are various times when the camera supports the conventions of social class. High angle shots to low angle shots is a good example of this. There is evidence of this in the flashback scene where there is a high and shot on Esther (as a child) then a few low angle shots on the lady she is speaking with. The camera being over-the-shoulder emphasises the low angle shot and the importance of the women over Esther. There are also a few close-ups and tracking shots in the flashback scene, the camera tracks the women instead instead of seeing her move towards Esther. This also represents her importance over Esther.
SHIPP - All of you have some good points but some of the elements you select are not necessarily accurate in their description and you've missed loads out.
The flashback begins with a close-up of Esther looking directly into the camera and asking "Who am I exactly?" This direct mode of address immediately draws you into the characters situation and represents her as the innocent party. This is emphasised by the high angle of the shot making Esther look up and the size of shot exaggerating the mise-on-scene of the characters facial expression of concern. The hard cut between this shot and the following long shot on the woman to whom she is talking represents the distance between them and reflecting the distance in their relationship, not the closeness you would expect between a woman and a sad child! During the woman's dialogue "Your nothing....worse than nothing" there is a crash zoom in on the character representing not only the dislike of the child but, when followed with the dialogue "Your mother is your disgrace.... and you hers," the fall from status that a family name has suffered. The severity of the conversation represents the importance of social class during Dickens' time. The distance between the characters is also reflected in the dialogue when the older woman talks about Esther being "set apart". This is the second time we have seen the production play with the audience's spacial awareness, as we talked about it in scene 3. This time it is the eye-lines of the characters you need to watch as at the beginning of the scene they are looking across the distance at each other and then following the crash zoom the camera angle reflect the height difference and looking up/looking down. This disorientation makes the audience focus on the dialogue and therefore the representation of the characters.
The mise-en-scene also clearly plays its part as the only source of lighting is from the windows casting much of the room in darkness representing the place where Esther has been brought up as cold and unwelcoming. Furniture seems to be covered over signifying that the items are too good to be touched or that they are moving. The woman is also clutching a shawl around her shoulders connoting the cold temperature and lack of heating. These micro elements together with Esther using the name "Miss Parberry" signifies that she is being brought up by a nanny who to some extent is herself an outcast of the social elite as she is quite old and still a "Miss"!
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Scene 6
Scene 6
Alex - In the scene where the horse and cart arrives in London the man represents his class by waiting for her to arrive. This represents that he is a working class "errand boy". His clothes are smart but they look old and worn out, which shows that he doesn't have the money to wear brand new ones. From the way he is behaving you can see that he works for Law firm or another high power business.
Zach - Before Esther arrives in London, we have an establishing shot of her escort Guppy. He is shown (character movement) with his back to the wall, spinning an object, perhaps a watch. His clothes are dark and tatty, matching the mood of the building around. This shows that he is a lower class subject, perhaps trying to break into a higher status in society, due to him wearing a suit and a top hat, an iconic symbol of status.
Zach - Before Esther arrives in London, we have an establishing shot of her escort Guppy. He is shown (character movement) with his back to the wall, spinning an object, perhaps a watch. His clothes are dark and tatty, matching the mood of the building around. This shows that he is a lower class subject, perhaps trying to break into a higher status in society, due to him wearing a suit and a top hat, an iconic symbol of status.
When Esther's carriage arrives we see Gumpy's boot hit a murky puddle, through an extreme close-up cutaway shot. This signifies his roots and that he is potentially from the lower class, as people of a higher status would probably have been driven more closely to the curb. His representation is reinforces when he begins to speak to her using formal language but this auditory code is juxtaposed with a cockney accent. Once Esther gets out he shows his affectionate side by informing her that the best option for her in this busy city is to hold on to him. This could be seen as him caring for his customer. However it could also represent her importance and that he knows her importance.
Alex - Guppy's body position is very upright at this point, representing his self-importance at beginning asked to collect Esther. This also represents that he is proud of his job from the quote "don't want you to get lost now do we?" which signifies he is concerned and protective of her.
Alex - Guppy's body position is very upright at this point, representing his self-importance at beginning asked to collect Esther. This also represents that he is proud of his job from the quote "don't want you to get lost now do we?" which signifies he is concerned and protective of her.
Rachel - When Guppy meets Ester he class her "miss" although he is uses a Cockney accent, he is formal in meeting her. This contrasts the way the man (later introduced as Mr Nemo) responds when he bumps into her as he doesn't give her a title. This connotes the stereotypes of social class as Guppy looks down on the man, through his body language) after he apologises to Esther.
Zack - As they begin walking they bump into a strange man, Mr. Nemo. Esther, startled, wonders what his reaction will be. This could be seen as an upper class superstition or belief that lower class people are dangerous. We have a very slight low angle shot of Mr. Nemo apologising and making sure that she is ok. A shot-reverse-shot in which both of the characters are represented in shot size and position equally as Esther acting a bit relieved, saying that she is ok.
With Esther gone, we notice that the mise-en-scene of Mr. Nemo's costume is dark brown clothing. This reinforces the representation of his working class status. However this is thrown into doubt when you hear his accent. He speaks in a manner and accent that suggests he is educated in some way.
Mr. Nemo then speaks to a child. Nemo is saying he doesn't have anything, however on the way back he'll have a look for him. This shows a lower class bond, that they look out for one another.
Rachel - There are a few shots where the camera is all on the same level, for example when the Mr Nemo talks to the little boy in the city. Even though the boy is dirty, working class (although Mr Nemo is also dirty and unshaven) and physically shorter than Nemo, the camera doesn't show this as the camera is at a matching shot level, signifying equality, which may give us an idea as to why the boy calls him "kind".
The mise-en-scene of the set design also connotes a big city of Dicken's time with its fair share of people surviving on the street and keeping warm using barrel fires.
I would also comment on the hyperbolic sound of the wind during the conversation between Mr Nemo and Esther as this connotes the mystery and potential danger behind the character of Mr Nemo. Which is anchored when in the next scene he is very defensive when told to "watch how you spend it now" (money).
Rachel - There are a few shots where the camera is all on the same level, for example when the Mr Nemo talks to the little boy in the city. Even though the boy is dirty, working class (although Mr Nemo is also dirty and unshaven) and physically shorter than Nemo, the camera doesn't show this as the camera is at a matching shot level, signifying equality, which may give us an idea as to why the boy calls him "kind".
The mise-en-scene of the set design also connotes a big city of Dicken's time with its fair share of people surviving on the street and keeping warm using barrel fires.
I would also comment on the hyperbolic sound of the wind during the conversation between Mr Nemo and Esther as this connotes the mystery and potential danger behind the character of Mr Nemo. Which is anchored when in the next scene he is very defensive when told to "watch how you spend it now" (money).
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Scene 7
Zack - An establishing shot of the lawyer firm shows us a well-financed business. Within the shot we see an assistant or employee working and dressed in a suit. This reinforces the representation of a succeeding business that pays well. Mr. Nemo then enters in his dark clothing. This draws little attention from the well lighted room
SHIPP- The representation of Mr Nemo changes as we enter this scene. The man behind the counter takes the package that Mr Nemo gives him and examines the documents within carefully. The camera is focused on Mr Nemo in a MCU watching him surveying the mans reaction to the documents, which concentrates the audience on the importance of the documents and if he is going to get the business mans approval. Representing that the lower class are seeking approval. However when the business man speaks our perception of the documents changes, he's not stolen them rather "elegantly done" connoting that Mr Nemo has in fact copied these documents for the man. This ability to write (as with reading in scene 3) is a representation of the 'educated' classes and therefore repositions the audiences' reception of Mr Nemo. There is an ECU on the money being exchanged and a further conversation which signifies that this is a business arrangement and Mr Nemo can have more work later. Throughout Mr Nemo is referred to by name and title "Mr" therefore representing mutual respect, furthering the mystery surrounding Mr Nemo's character and his involvement in the plot.
THE END
SHIPP- The representation of Mr Nemo changes as we enter this scene. The man behind the counter takes the package that Mr Nemo gives him and examines the documents within carefully. The camera is focused on Mr Nemo in a MCU watching him surveying the mans reaction to the documents, which concentrates the audience on the importance of the documents and if he is going to get the business mans approval. Representing that the lower class are seeking approval. However when the business man speaks our perception of the documents changes, he's not stolen them rather "elegantly done" connoting that Mr Nemo has in fact copied these documents for the man. This ability to write (as with reading in scene 3) is a representation of the 'educated' classes and therefore repositions the audiences' reception of Mr Nemo. There is an ECU on the money being exchanged and a further conversation which signifies that this is a business arrangement and Mr Nemo can have more work later. Throughout Mr Nemo is referred to by name and title "Mr" therefore representing mutual respect, furthering the mystery surrounding Mr Nemo's character and his involvement in the plot.
THE END
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