Having had some practice at these mini essays in comparing characters to discuss difference, power and stereotypes I would like you to attempt the mock based on the representation of AGE
This will be a timed exam which you will do from home, the results of which will be entered onto your module reports. I will collect them in during your next TV drama lesson.
Please hand in your notes sheet with MES CAM SOUND EDIT
To prepare for this I would like you to revise the Terminology, Sterotypes and the notes you made on what prediction we could have for how Age is constructed
Review your notes that you have taken and put on your TV drama blogs
What technical aspects can we expect for YOUTH
What technical aspects can we expect for ADULTS
What technical aspects can we expect for ELDERLY
Differences, opposites (quick cuts/ slow transitions, CU/LS, handheld/Tripod)
Time yourselves, you have 2 min between screening 3 & 4, then 45 mins to write your essay
Remember
1. Analysis (what Meaning is the clip saying about the groups, Stereotypes - re-enforced/challenged)
2. Examples (how they emphasise, construct difference & power - all 4 for L4)
3. Terminology (technical vocabulary)
Start with the Character Comparison
Point - AGE
Examples - CAM EDIT MES SOUND
Explanation - AGE
HERE IS THE LINK : What are the key improvement points you needed to address in your last Mock? Make sure you have prepared before you start.
http://www.youtube.com/watch?v=R8wjfhE7faY
Good luck!
Tuesday, 31 January 2012
Monday, 23 January 2012
Waterloo Road Opening
http://www.bbc.co.uk/writersroom/insight/downloads/scripts/waterloo_road_s01e01.pdf
annotate the script for the opening with a shot list & get an image of suitable characters, props & location
annotate the script for the opening with a shot list & get an image of suitable characters, props & location
Tuesday, 17 January 2012
Friday, 6 January 2012
Homework for next week - CONSTRUCTIONS OF CHARACTER
Please work through this for next Thursdays 1st session
If you were absent you will be expected to complete
3 analysis points
Intro
Paragraph 1,2 & 3
Conclusions
Focus on MES - EDIT - SOUND
Read over editing & writing about editing to help you know what to look for - there will be a quiz next week.... & the week after... and the week after that....
POST YOUR ANALYSIS (MIN 300 WORDS) & NOTES ONTO THIS BLOG POST AS COMMENTS
If you were absent you will be expected to complete
3 analysis points
Intro
Paragraph 1,2 & 3
Conclusions
Focus on MES - EDIT - SOUND
Read over editing & writing about editing to help you know what to look for - there will be a quiz next week.... & the week after... and the week after that....
POST YOUR ANALYSIS (MIN 300 WORDS) & NOTES ONTO THIS BLOG POST AS COMMENTS
 |
| THE NOTES TO MAKE |
 |
| THE CLIPS TO WATCH |
 |
| THE QUESTION TO ANSWER |
Wednesday, 4 January 2012
Representation of ethnicity:
http://www.youtube.com/watch?v=8QTJTIabbyo
Stereotypes:
Asian people: Rich, business people, religious, have been portrayed as terrorists, good at making curry. Own cornershops. They have big families and the all live in one house with all relatives.
Travellers: AKA gypsies, are usually Irish/foreign (Bulgarian/Romanian). We associate them with fun fairs, live in caravans, they take over peoples land/destroy it. They make a mess and steal. Lacking in education. Wear vests and jeans and slobber everywhere sometimes long hair. Excess of lynx. Women wear big dresses and hooped gold earrings. British/Irish travellers prefer to be called ‘Travellers’
Polish people: cheap labour. Poor. Have young families. Own kebab, chicken, pizza shops. Take all of our jobs. e.g. builders.
žTypical stereotype of an Asian woman = doctors or accountantsﾉnot artists".
žstereotypes of black men being lazy, promiscuous, bad fathers and obsessed with rap".
žBlack women were obsessed with how much money a man earned and were "strait-laced" compared to white women when it came to sex.
žAsian people are perceived as invaders or karate experts.
žžHispanic people as comics, banditos or gang members.
žNative Americans as savages, victims, cowards or medicine menž
žPeople from Middle East are seen as terrorists or oil sheiks. In video games - 79 per cent of African-American males were shown as verbally and physically aggressive, compared to 57 per cent of white males.
ž“On TV, black people are depicted as poor nearly twice as often as their true incidence.”
ž“Black people tend to be stereotyped as criminal”
ž“Black people are stereotyped as late arrivers.”
žž“White people can’t dance.”
ž“ Asian people own corner shops in England.”
Black people
žUsually linked to black men
žCrime
žLiving in slums
žOn welfare
žNeed help from community
žLess intelligent
žOver sexual
ž
White people
žDumb blondes
žGreedy
žMaterialistic
žBusinessmen
žMiddle/upper class
žPosh/ well spoken
ž
Asian people
žDoctors
žEngineers
žMathematicians
žNewsagents- small businesses – entrepreneur
žIgnorant
žExtremely smart people
žMen are threats to white women
žInsensitive
žDisrespectful towards women
Notes on Representation of Age - lesson plan
The teenagers are grouped together, which fits into the stereotype that youths are often found in a 'gang.'
The uniform all shows they are average teenagers. The tie hanging loosely on the girls neck shows she doesn't really care about school.
The hoop ear rings straight away put the girl into the 'chav' culture.
Positive aspects of being youths:
Attractive- (no wrinkles.)
Physically and mentally able.
Outgoing/ adventurous
Lacking in responsibility, you can rely on others
Sociable
We are at the start of our lives and have a future ahead of us
Fun
Positive aspects of being old:
Wise
Responsible
Wealth
Achievement
Freedom
Being respected
Negatives of being a young person:
Vulnerable to being influenced by others
Naieve
Mischievous
Need rules and restrictions, you want to be doing adult things
Hormonal
Very stereotyped
Society's view that everyone should have to attend school
Negatives of being an old person:
Incapable
Not as many friends, loneliness
Victims of crime
Stereotyped as boring
Grumpy
Dependant on others
Mise en Scene:
Costume, Hoodies, zimaphrame...
Low key lighting for the elderly and bright for youths
Location for the elderly- old people's home, a park/ pub for teens
Props, handkerchiefs for elderly.
Cinematography:
High angled shots over the youths to show authority over them.
Unfocused, shallow to deep focus to represent drug abuse.
Panning- slow pans for the elderly and fast pans for the youths.
Use of the tripod, representing a slow and static old person.
Sound:
Drum and Bass, Loud music for young people.
Loud dialogue and shouting with lots of people talking over each other for youths.
Use of silences for old people.
Diagetic sounds for old people, like birds.
Simple jazz music for the elderly.
Editing:
Quick jumps shots for elderly to show they move slowly.
Longer length of shot for the elderly and shorter shots for the youths.
Notes on age representation in Skins:
Fast pace up beat music.
Adults looking down on them
alcohol everywhere
set in a pub
Kissing
hoop ear rings
fights
police
adults playing snooker, they play cards
shallow depth to deep focus shots to represent alcohol consumption
blood
lighting is dark, representing night life.
The uniform all shows they are average teenagers. The tie hanging loosely on the girls neck shows she doesn't really care about school.
The hoop ear rings straight away put the girl into the 'chav' culture.
Positive aspects of being youths:
Attractive- (no wrinkles.)
Physically and mentally able.
Outgoing/ adventurous
Lacking in responsibility, you can rely on others
Sociable
We are at the start of our lives and have a future ahead of us
Fun
Positive aspects of being old:
Wise
Responsible
Wealth
Achievement
Freedom
Being respected
Negatives of being a young person:
Vulnerable to being influenced by others
Naieve
Mischievous
Need rules and restrictions, you want to be doing adult things
Hormonal
Very stereotyped
Society's view that everyone should have to attend school
Negatives of being an old person:
Incapable
Not as many friends, loneliness
Victims of crime
Stereotyped as boring
Grumpy
Dependant on others
Mise en Scene:
Costume, Hoodies, zimaphrame...
Low key lighting for the elderly and bright for youths
Location for the elderly- old people's home, a park/ pub for teens
Props, handkerchiefs for elderly.
Cinematography:
High angled shots over the youths to show authority over them.
Unfocused, shallow to deep focus to represent drug abuse.
Panning- slow pans for the elderly and fast pans for the youths.
Use of the tripod, representing a slow and static old person.
Sound:
Drum and Bass, Loud music for young people.
Loud dialogue and shouting with lots of people talking over each other for youths.
Use of silences for old people.
Diagetic sounds for old people, like birds.
Simple jazz music for the elderly.
Editing:
Quick jumps shots for elderly to show they move slowly.
Longer length of shot for the elderly and shorter shots for the youths.
Notes on age representation in Skins:
Fast pace up beat music.
Adults looking down on them
alcohol everywhere
set in a pub
Kissing
hoop ear rings
fights
police
adults playing snooker, they play cards
shallow depth to deep focus shots to represent alcohol consumption
blood
lighting is dark, representing night life.
G322 Candidate Exemplar Response Date: June 2010 Representation: Gender highlight activity
G322 Candidate Exemplar Response Date: June 2010 Representation: Gender
Throughout the extract representations of gender are illustrates through various elements such as editing and sound. A mix of dominance and equality is produced through the extract however overall it is conveyed that women are physically subordinate compared to physically strong and stereotypically hegemonic male.
Representations of gender have been clearly illustrated throughout editing. For example a mix of pivot/panorama shots as well as fast tracking shots have been incorporated when the girl is trying to save and protect the male character. This illustrates the fast movement and action of the cut however it may also signify a chaotic environment where women struggle to take and maintain power. Another example of a tracking shot is portrayed when the male character is travelling down the rope. This editing however demonstrates to the audience the thought and power the character has from making a quick rational decision which is a stereotype of male behaviour. A long establishing shot is used which clearly signifies the three male characters in an equal line. The equal line personally connotes equality however as the majority of characters were male this illustrates women inferiorly in serious situations. Near the end of the extract one male in the process of saving a women from another dangerous man however the framing of the cut demonstrates representations of gender. For example the female protagonist was placed significantly behind the male which illustrates the girl’s subordination compared to the male.
The next element which produces representations of gender is through sound.
In one cut once the female had saved the male from the life threatening situation from the dialogue such as “Come on” with a high intensity, provoking the animal, suggests bravery and a strong masculinity. This dialogue may have been said as an attempt to regain status as he’s just been saved by a girl. At the start of the first cut a synchronisation from the strings is displayed when the music matches to thesombre or negative topic. “Let her go” by a different male suggest he may think of the male as being superior therefore shouldn’t have to run after her. In this scene within the barn one female protagonist was trying to bribe the male character through dialogue. Therefore this could represent woman being manipulative to convery power in antithesis to males who assert their power in a physical manner.“My best coat!” also creates representation of women such as an obsession of appearance and vanity. However positive representations towards woman are also portrayed. For example once one woman has undertaken the stressful experience the other female protagonist says “you okay” which suggests women to be expressive and caring in contrast to males who are minimal with their dialogue. The diegetic sound the dogs barking emphasise the bad situation of the woman conveying the woman’s vulnerability further. This is also emphasised by the harsh sound effects which build and sustain tension creating a climax.
The next factor which displays representations is through mise en scene. Expressions play a key role, for example when the blonde male is approached by the sabre toothed tiger his expression coveys fear leading to a sympathetic response from the audience however this contrasts greatly to the calm and collective expression of the girl, which suggests a swap in roles involving dominance. At the start of the scene the colour intensity is high on the male compared to the grainy background. This demonstrates the natural setting however focuses the attention on the male protagonist which could suggest male superiority. The females clothing (blonde) presents a male style which is in contrast to the stereotypes of a feminine woman, however another female character in the film is represented with a high pride in her appearance which conforms to the stereotype.
This however portrays the different roles and characteristics of women which may have changed in contemporary times. The props such as the heavy machinery emit
connotations such as manual masculine feelings. However the female is in charge of the stereotypical male vehicle. Therefore this suggests equality and an improvement of women within jobs and status compared to the traditional domestic duties. Even though the women within the extract portray dominance through props, the male characters continually illustrate dominance. For example the males usage of the guns for example, the shot gun in the barn and the hand gun involving the key protagonists. This contrasts to how the brunette women displays authority by attempting blackmail. Overall this could suggest males and women are equally dominant although just portray it through different criteria.
A final way in which representations of gender have been displayed is through camera work. For example the low angle looking down on the male in the whole illustrates his vulnerability and helpless position which displays him as subordinate. However a different low angle in conveying the tiger illustrates dominance of man and a hierarchy with the animal being lower. Establishing shots such as before the male jumps looking on in the long distant horizontal plane suggests his thoughts which leads to the male’s hasty decision. An extreme close up on the woman’s face when she’s been knocked down suggestdemonstrates her fear and panic further suggesting the women’s weak position compared to the male. A pivot shot is used which creates the effect as the camera is on a fixed position that someone or something would be looking at them for example the dangerous tiger which overall represents vulnerability to the male and the woman.
Overall the particular extract conveys elements of representation through various ways of media aspects. In conclusion a mix of equality is suggested overall, however the traditions where the male characters save the day are clearly presented. Although a mix of response from empathy juxtaposed to spite is displayed from the audience involving both genders.
Explanation/Analysis/Argument: /20
Use of Example: /20
Terminology: /10
Sound Terminology
Sound Termonology:
-Sound has the power to create certain moods, to create character and signal events. It can also manipulate an audience to feel a certain emotion.
-There are three essential elements used to create sound: The human voice/ dialogue, sounds effects and music. All of these features help to create verisimilitude (realism) within a television drama.
- Diegesis: The world of the T.V programme we can see on screne that character's live in.
There are two main types of sound in T.V drama:
- Diagetic: diagetic sounds is natural sounds for example footsteps, talking, a radio being played- all things that we can hear on a daily basis for ourselves.
- Non-diagetic: This takes place outside of the diegesis and helps to provide an appropriate tone or mood to the drama.
Foley sound: Is the reproduction of everyday sounds for use in filmmaking. For example, squeeking doors and breaking glass- that are considered to be diagetic sounds, however the viewers are unaware that the sound has been added in as it is expected due to the verisimilitude of the drama.
Dialogue- mode of address/ voice overs: This is a first person narration which is used as a narrative device to explain the plot. This may also reveal vital information about the narrative which the other characters are unaware of, which creates suspense for the viewers.
Direct Address: When a character directly address the audience- which is rare in T.V dramas as they are designed to be realistic.
The importance of music in T.V dramas: Music is used to create atmosphere and emotion and help the audience feel what the character's are feeling.
Incidental Music: This is non-diagetic music which is used to add emotion to the drama. Helps you identify witht the narrative or characters.
Dissonant music: Music that indicates a potential menace or disaster which informs the audience that something bad is about to occur.
Incidental music may also be associated with different characters or narratives that are reference to specific things e.g James Bond.
Parralel Sounds: Sounds that we expect to hear in a drama, for example up beat and fast paced in action scenes.
Contrapuntal Sounds: Sounds that we dont expect to hear to add effect, e.g classical music over a fight scene.
Stings: A brief crescendo stab of music to enhance the drama of the current situation.
Ambient sounds: A diagetic/ natural sound that is used to create verisimilitude within the diegesis.
-There are three essential elements used to create sound: The human voice/ dialogue, sounds effects and music. All of these features help to create verisimilitude (realism) within a television drama.
- Diegesis: The world of the T.V programme we can see on screne that character's live in.
There are two main types of sound in T.V drama:
- Diagetic: diagetic sounds is natural sounds for example footsteps, talking, a radio being played- all things that we can hear on a daily basis for ourselves.
- Non-diagetic: This takes place outside of the diegesis and helps to provide an appropriate tone or mood to the drama.
Foley sound: Is the reproduction of everyday sounds for use in filmmaking. For example, squeeking doors and breaking glass- that are considered to be diagetic sounds, however the viewers are unaware that the sound has been added in as it is expected due to the verisimilitude of the drama.
Dialogue- mode of address/ voice overs: This is a first person narration which is used as a narrative device to explain the plot. This may also reveal vital information about the narrative which the other characters are unaware of, which creates suspense for the viewers.
Direct Address: When a character directly address the audience- which is rare in T.V dramas as they are designed to be realistic.
The importance of music in T.V dramas: Music is used to create atmosphere and emotion and help the audience feel what the character's are feeling.
Incidental Music: This is non-diagetic music which is used to add emotion to the drama. Helps you identify witht the narrative or characters.
Dissonant music: Music that indicates a potential menace or disaster which informs the audience that something bad is about to occur.
Incidental music may also be associated with different characters or narratives that are reference to specific things e.g James Bond.
Parralel Sounds: Sounds that we expect to hear in a drama, for example up beat and fast paced in action scenes.
Contrapuntal Sounds: Sounds that we dont expect to hear to add effect, e.g classical music over a fight scene.
Stings: A brief crescendo stab of music to enhance the drama of the current situation.
Ambient sounds: A diagetic/ natural sound that is used to create verisimilitude within the diegesis.
what we came up with 10 stereotypical traits gender
Masculine:
- Strong
- Attracts lots of women
- Muscular
- Independant
- Courageous
- Aggressive
- Cocky
- Sporty
- Jack the lad
- Lazy
- Kind
- Maternal
- Organised
- Fashinable
- Petite
- Influentual
- Envious
- Sweet
- Argumentative
- Stubborn
Monday, 2 January 2012
How to write about editing
G322 TELEVISION DRAMA: HOW TO WRITE ABOUT EDITING
G322 Television Drama: writing about how editing contributes to representation
David Allison notes also available at The Media Association www.themea.org
EDITING AND REPRESENTATION
As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camerawork such as close-ups and low angles conveys status and emotion to the audience. The use of costume, props and settings functions of mise-en-scène are also pretty transparent to most students.
But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof - in the same way that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context. So use your intelligence!
ACTION MATCH
When following a single character (e.g. Billy Elliot dancing) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations and offers an opportunity for juxtaposition.
e.g. a scene in Skins showing a young Russian woman’s swinging of the axe (representing of sex and power) is juxtaposed with a fat Russian dinner lady heavy serving of congealed mashed potato. It draws attention to the contrasting ways in which Russian women are being represented.
EYELINE MATCH
Eyeline match usually provides insight to a character's private thoughts.
e.g. In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, it keeps cutting between her and the friends watching her, signifying that she, the woman, is the centre of the action.
FINAL SHOT
In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with which the audience is expected to identify.
e.g. in Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, point of view. See also every East Enders cliffhanger ever.
INTERCUTTING: JUXTAPOSITION
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference e.g. in East Enders: Wedding Night, the warmth, light and music of the happy pre-wedding feast is in stark contrast with the two unhappy families represented in the cold and dark whenever we cut away. This provides a more favourable representation of Asian family life over white Londoners.
INTERCUTTING: TENSION
When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience’s identification with a particular character.
e.g.: in Primeval, intercutting between the tiger’s pursuit of Cutter and Abby’s running in with the rifle is action code and prompts the question: will she get there in time? In Hotel Babylon, intercutting offers both tension and juxtaposition: just as Adam is saving his colleague’s life with a jar of jam, another African immigrant, Ibrahim, is being lost. The tension and juxtaposition lead the audience to identify with both characters.
JUMP CUTS
These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules!
e.g. in Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive.
MOTIVATION
A motivated edit is any transition forced on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate.
e.g. in Primeval, Cutter runs away from the tiger, drawing it away from Abby.
His constant motion motivates many of the cuts in this sequence, again reinforcing his status as the protagonist, if not the Proppian hero.
PACE OF EDITING
This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.
PREVALENCE
How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change character’s status.
e.g. in Hotel Babylon, Adam is invisible (‘just one of many refugees’) until he steps forward to treat the diabetic maid. Suddenly, the editing favours him, and we realise his importance and skill, despite his menial status in the hotel.
SELECTION: to show or not to show
As film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit.
e.g. in Primeval, as Jenny comes under increased threat from West, at no point do we cut away to her colleagues approaching the barn. To do so might have reduced the tension in the scene; not doing so arguably increases Jenny’s apparent vulnerability. Narratively, it is also a nice surprise when the team arrive in a single cut, which contrasts with the early tiger chase (see intercutting).
SHOT / REVERSE SHOTS and REACTION SHOTS
S/RS indicates the relationship between two characters: it signifies and sometimes exaggerates their closeness or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two characters are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally?
e.g.: in Doctor Who, the S/RS between Martha and the Master gives Martha CUs and the Master MCUs, conveying Martha’s greater status as a character, even if narratively she appears defeated.
Examples
G322 Television Drama: writing about how editing contributes to representation
David Allison notes also available at The Media Association www.themea.org
EDITING AND REPRESENTATION
As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camerawork such as close-ups and low angles conveys status and emotion to the audience. The use of costume, props and settings functions of mise-en-scène are also pretty transparent to most students.
But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof - in the same way that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context. So use your intelligence!
ACTION MATCH
When following a single character (e.g. Billy Elliot dancing) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations and offers an opportunity for juxtaposition.
e.g. a scene in Skins showing a young Russian woman’s swinging of the axe (representing of sex and power) is juxtaposed with a fat Russian dinner lady heavy serving of congealed mashed potato. It draws attention to the contrasting ways in which Russian women are being represented.
EYELINE MATCH
Eyeline match usually provides insight to a character's private thoughts.
e.g. In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, it keeps cutting between her and the friends watching her, signifying that she, the woman, is the centre of the action.
FINAL SHOT
In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with which the audience is expected to identify.
e.g. in Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, point of view. See also every East Enders cliffhanger ever.
INTERCUTTING: JUXTAPOSITION
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference e.g. in East Enders: Wedding Night, the warmth, light and music of the happy pre-wedding feast is in stark contrast with the two unhappy families represented in the cold and dark whenever we cut away. This provides a more favourable representation of Asian family life over white Londoners.
INTERCUTTING: TENSION
When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience’s identification with a particular character.
e.g.: in Primeval, intercutting between the tiger’s pursuit of Cutter and Abby’s running in with the rifle is action code and prompts the question: will she get there in time? In Hotel Babylon, intercutting offers both tension and juxtaposition: just as Adam is saving his colleague’s life with a jar of jam, another African immigrant, Ibrahim, is being lost. The tension and juxtaposition lead the audience to identify with both characters.
JUMP CUTS
These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules!
e.g. in Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive.
MOTIVATION
A motivated edit is any transition forced on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate.
e.g. in Primeval, Cutter runs away from the tiger, drawing it away from Abby.
His constant motion motivates many of the cuts in this sequence, again reinforcing his status as the protagonist, if not the Proppian hero.
PACE OF EDITING
This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.
PREVALENCE
How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change character’s status.
e.g. in Hotel Babylon, Adam is invisible (‘just one of many refugees’) until he steps forward to treat the diabetic maid. Suddenly, the editing favours him, and we realise his importance and skill, despite his menial status in the hotel.
SELECTION: to show or not to show
As film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit.
e.g. in Primeval, as Jenny comes under increased threat from West, at no point do we cut away to her colleagues approaching the barn. To do so might have reduced the tension in the scene; not doing so arguably increases Jenny’s apparent vulnerability. Narratively, it is also a nice surprise when the team arrive in a single cut, which contrasts with the early tiger chase (see intercutting).
SHOT / REVERSE SHOTS and REACTION SHOTS
S/RS indicates the relationship between two characters: it signifies and sometimes exaggerates their closeness or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two characters are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally?
e.g.: in Doctor Who, the S/RS between Martha and the Master gives Martha CUs and the Master MCUs, conveying Martha’s greater status as a character, even if narratively she appears defeated.
Examples
ACTION MATCH
EYELINE MATCH
FINAL SHOT
INTERCUTTING: JUXTAPOSITION & TENSION
JUMP CUTS
MOTIVATION
PACE OF EDITING
PREVALENCE & SHOT / REVERSE SHOTS & REACTION SHOTS
SELECTION: to show or not to show
prezi on the exam format for AS Media
http://prezi.com/evot7ty1vksc/copy-of-representation-in-tv-drama-revision-g322-reigatemedia/
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