Season 2 Episode 1
At the beginning of the scene, it cuts from Sherlock and John in a car to Irene looking at photos of them. As soon as this happens the score abruptly changes to something more elegant and sinister. This suggests that Irene is an antagonist, which places her at equal standing to Sherlock. As Sherlock and John prepare to meet her, we see them getting ready in a dark, shabby house. Comical, upbeat music is playing. However, when the camera cuts to Irene and Kate's preparations, the music changes to something more more elegant, and we see that Irene's house is large and luxurious. This gives her power, as it shows that she is more wealthy and therefore has more resources. During their preparations, the camera cuts continuously between Sherlock and Irene to show their similarities. This shows that Irene is equal to Sherlock, which juxtaposes typical stereotypes where the male protagonist is more powerful and resourceful than the female antagonist. When the camera is on Sherlock and John, it is handheld, whereas with Irene it is steady. This gives Irene more power, as it signifies that she is confident and in control. Also, Sherlock and John's preparations are quite aggressive, whereas Irene's are not. This conforms to common ideals regarding masculinity and femininity; however, here the 'feminine' approach is presented as being more desirable and powerful. This is also shown in Irene's preparations; there is a long cut on her when she opens her closet, and she is directly at the centre. This makes her more powerful. When Sherlock is at Irene's door, there are close-ups on him, as if the viewer is looking at him through the security camera. As Sherlock tries to convince Kate to let him in, the camera cuts to a mid-shot of Kate, which allows the viewer to see her confident pose and her laughing at Sherlock. This shows that she and Irene are in power here, and that they know what Sherlock is doing, which is not typical of the antagonists of Sherlock- especially not female ones. This suggests that Irene is intelligent, making her powerful. That the viewer is viewing Sherlock from Kate's point of view also shows that she and Irene are the ones in power here. When Irene walks naked into the room where Sherlock is, the music changes from comical to sinister, and there is a reaction shot of Sherlock. These show that Irene is making him uncomfortable and confused, giving her power. As they are talking, there is a low angle on Irene so she is above both the viewer and Sherlock, which signifies that she has the most power. When she sits down, special effects are used to show that Sherlock cannot deduce anything from her. Not only does this show that she has power over him, but also conforms to the trope of female characters weaponising their sexuality, or the 'femme fatale'. The misogynistic standards of society have led to the sexuality of women being condemned, so over the years in the media there have been female characters using their sexuality as a weapon to achieve their goals. As this gives Irene power, it also presents female sexuality as being powerful, whether for good or for bad.
Overall, although the scene conforms to the 'femme fatale' stereotype, it does present the female characters as being more powerful than the male protagonists, which subverts typical gender stereotypes and tropes.
Monday, 4 May 2015
Monday, 13 April 2015
Orange Is The New Black Textual Analysis
Season 2 Episode 4
When the camera first cuts to Brooke, it is a long shot and there is selective focus on her. This, coupled with the ambient sound, shows Brooke to be excluded from the others. This subverts typical stereotypes, as Brooke is heterosexual; normally, it is the homosexual characters that are shown to be loners or outcasts from society. This could derive from the setting, as the characters are in prison, meaning that typical societal roles may be reversed or completely eradicated. As Piper calls Brooke over to the table, the camera cuts to a selective focus shot of Boo among other inmates. Boo is framed by the other women, which makes her look predatory. This conforms to the stereotype of lesbians being manipulative, and presents her in a negative light. Boo's appearance is also typically 'butch', and her voice is lower. This conforms to the stereotype of lesbians being masculine, which is the way they are normally presented when the show doesn't want to sexualise the character. As Piper talks to Brooke, the camera continuously cuts between her and Boo, showing that they are both involved in the conversation (although Boo is on a different table). As Piper is bisexual, this connection between the two shows that they are both involved in the manipulation of Brooke, which presents them in a negative light. It also presents the two as working together, which subverts typical media tropes; commonly, characters of a different sexual orientation to heterosexual are presented as loners, and as being the only non-heterosexual in their friendship group. This again could account to the prison setting, as with there being many women grouped together there are going to be many women of different sexualities. Later, we learn that Piper was trying to convince Brooke to engage in intercourse with Boo. This conforms to the stereotype of homosexual characters only being interested in sex and not long-lasting relationships.
Overall, in the scene the homosexual character is being presented as manipulative, predatory, and sexually-motivated, which are typical tropes used in the media to present homosexual characters in a negative light. However, it also shows heterosexual characters to be out of the ordinary, which goes against common media portrayals.
When the camera first cuts to Brooke, it is a long shot and there is selective focus on her. This, coupled with the ambient sound, shows Brooke to be excluded from the others. This subverts typical stereotypes, as Brooke is heterosexual; normally, it is the homosexual characters that are shown to be loners or outcasts from society. This could derive from the setting, as the characters are in prison, meaning that typical societal roles may be reversed or completely eradicated. As Piper calls Brooke over to the table, the camera cuts to a selective focus shot of Boo among other inmates. Boo is framed by the other women, which makes her look predatory. This conforms to the stereotype of lesbians being manipulative, and presents her in a negative light. Boo's appearance is also typically 'butch', and her voice is lower. This conforms to the stereotype of lesbians being masculine, which is the way they are normally presented when the show doesn't want to sexualise the character. As Piper talks to Brooke, the camera continuously cuts between her and Boo, showing that they are both involved in the conversation (although Boo is on a different table). As Piper is bisexual, this connection between the two shows that they are both involved in the manipulation of Brooke, which presents them in a negative light. It also presents the two as working together, which subverts typical media tropes; commonly, characters of a different sexual orientation to heterosexual are presented as loners, and as being the only non-heterosexual in their friendship group. This again could account to the prison setting, as with there being many women grouped together there are going to be many women of different sexualities. Later, we learn that Piper was trying to convince Brooke to engage in intercourse with Boo. This conforms to the stereotype of homosexual characters only being interested in sex and not long-lasting relationships.
Overall, in the scene the homosexual character is being presented as manipulative, predatory, and sexually-motivated, which are typical tropes used in the media to present homosexual characters in a negative light. However, it also shows heterosexual characters to be out of the ordinary, which goes against common media portrayals.
Tuesday, 7 April 2015
Hotel Babylon Textual Analysis
Season 1 Episode 1
A white male walks into the hotel and dramatic music starts immediately. This raises the tension and suggests that he is the source of that tension, making the audience fearful of him. He is dressed smartly, is at the forefront of most shots, and the camera continuously cuts to his reaction shots. This shows that he has the most power, which is a common trope in the media when representing white people (especially white males). The camera is also steady when on him. However, when it is on the immigrant workers, the camera is handheld. Not only does this raise the tension, but also makes the audience feel more involved in the plight of the workers. The use of steady cam on the immigration officer also gives him power, as it connotes that he is calm and in control, whereas the workers are panicking and terrified. The parallel editing is a juxtaposition in this scene. When the camera is on the officer, the shots are wide and the lighting is artificial to add verisimilitude to the luxury hotel. However, when we are with the workers in the storage cupboard, the lighting is dark and the shots are close-ups that are close and tight within the frame. This gives the workers a sense of community, which is a trope that is commonly used in the media when representing characters of different cultures and/or races other than white/Western. This also makes the audience feel more involved, as if they are part of their community, which is again achieved through the lack of sound. This makes the audience fell sympathetic towards the workers, which subverts the stereotype of race; in the media, immigrants are typically represented in a negative light. When one of the workers suffers a hypoglycemic attack, one of the other workers assists her and reveals he used to be a doctor. This subverts the stereotype of immigrants being uneducated/stupid.
Overall, although the scene challenges stereotypes associated with immigrants be generating sympathy for them, it still represents the white male as having power over them.
Wednesday, 25 March 2015
Doc Martin Textual Analysis
Season 1 Episode 1
The two regions represented in the Doc Martin extract are the southern and northern regions of England, which juxtapose each other. At the beginning of the scene, the camera is at a low angle on the northern workers, with the southern doctor standing over them. This implies that the doctor has power over the workers. He may have power because he is employing them, but also because he is an educated, middle-class southerner. In the dialogue that follows it is established that the northerners are uneducated and easily distracted, which is played to a comical effect. This conforms to the stereotype of northerners being working-class and uneducated. For the majority of the scene, there are long takes and selective focus on the doctor, connoting that he has the most power, or that he feels he does. The scene is set in a rural village near the ocean, which conforms to the stereotype of northerners leaving only in rural areas. It also suggests that there is a strong sense of community; another stereotype of northerners. Overall, the scene conforms to many stereotypes of southerners and northerners, and establishes the southerner as the superior character on account of his education and upbringing.
The two regions represented in the Doc Martin extract are the southern and northern regions of England, which juxtapose each other. At the beginning of the scene, the camera is at a low angle on the northern workers, with the southern doctor standing over them. This implies that the doctor has power over the workers. He may have power because he is employing them, but also because he is an educated, middle-class southerner. In the dialogue that follows it is established that the northerners are uneducated and easily distracted, which is played to a comical effect. This conforms to the stereotype of northerners being working-class and uneducated. For the majority of the scene, there are long takes and selective focus on the doctor, connoting that he has the most power, or that he feels he does. The scene is set in a rural village near the ocean, which conforms to the stereotype of northerners leaving only in rural areas. It also suggests that there is a strong sense of community; another stereotype of northerners. Overall, the scene conforms to many stereotypes of southerners and northerners, and establishes the southerner as the superior character on account of his education and upbringing.
Monday, 23 March 2015
Oliver Twist Textual Analysis
Season 1 Epsiode 1
In the dining hall scene, we see Mr. Bumble walk through rows of chidren. The colours are bleak ad the lighting creates a shadow of bars. This connotes that the children are trapped in dire circumstances. Mr. Bumble himself, however, is wearing vivid, rich clothing, and is strutting with his head held high. As the camera cuts between a bird's-eye view of him to eye-level shots of the children, we see the children wearing dark, dirty clothing, and looking down. These contrasting shots and cuts show that Mr. Bumble is of a higher class and that he has power over the lower class children. This is a common trope of the media, as the working class are typically shown to have less power than the upper class. The camera continuously cuts between the children eating their gruel, with the only sound being the clash of spoons against bowls. This sound suggests that the children are starving, which is another common representation of the lower class. However, later we see upper class men enjoying a large feast, which juxtaposes the conditions of the children. This shows that the men are rich and also cruel, as they are not using their wealth to feed the children. This representation conforms to the stereotype that the upper class exploit lower classes.
In the dining hall scene, we see Mr. Bumble walk through rows of chidren. The colours are bleak ad the lighting creates a shadow of bars. This connotes that the children are trapped in dire circumstances. Mr. Bumble himself, however, is wearing vivid, rich clothing, and is strutting with his head held high. As the camera cuts between a bird's-eye view of him to eye-level shots of the children, we see the children wearing dark, dirty clothing, and looking down. These contrasting shots and cuts show that Mr. Bumble is of a higher class and that he has power over the lower class children. This is a common trope of the media, as the working class are typically shown to have less power than the upper class. The camera continuously cuts between the children eating their gruel, with the only sound being the clash of spoons against bowls. This sound suggests that the children are starving, which is another common representation of the lower class. However, later we see upper class men enjoying a large feast, which juxtaposes the conditions of the children. This shows that the men are rich and also cruel, as they are not using their wealth to feed the children. This representation conforms to the stereotype that the upper class exploit lower classes.
Coming Down The Mountain Textual Analysis
Season 1 Epsiode 1
The first shot is a bird's-eye view shot of a bedroom. We see that on the side of the abled brother, the walls are white and the bed is tidy. On the other side, where the disbaled brother sleeps, the place is bright orange and messy. This suggests that the disabled brother is child-like, unlike the abled brother, which could mean that the abled brother has to take care of the other one. Next, there is an establishing shot of the house, and a sound bridge as the camera cuts to the kitchen scene. In the kitchen David has a conflict with his parents because Ben has eaten all the weetabix. There is a lot of focus on Ben here, as the camea continuously cuts between him and the other characters. This shows that in the house Ben is the centre of attention. We see the mother place an affectionate kiss on Ben's forehead, and the camera cuts to a reaction shot of David. This shows that Ben receives more affection than David, which David may resent. The father also instructs David to take Ben to the toilet, rather than the father doing it himself. This shows that most of the responsibility is put on David's shoulders rather than the parents, which places a lot of restrictions on David's life. Next there is a montage of David and Ben's daily life together with a voiceover from David explaining his feelings about this. The use of the voiceover suggests that David does not have anyone to talk to about his feelings, and that he normally represses or compartilises these emotions because everyone is normally concerned with Ben. At the school, David and a friend have a conversation together. Ben is in the background, yet out of focus. This shows that although at home Ben is the centre of attention, once David goes to school he tries to normalise his life by not paying him a lot of attention. However, Ben's presence in the background shows that he will always be there, and that David will always have to take care of him.
Overall, the clip represents disabled people as being child-like and having to be taken care of by abled people. Abled people are either shown to be treating the disabled person like a child (the mother), or resenting them for impacting their life so much (David).
The first shot is a bird's-eye view shot of a bedroom. We see that on the side of the abled brother, the walls are white and the bed is tidy. On the other side, where the disbaled brother sleeps, the place is bright orange and messy. This suggests that the disabled brother is child-like, unlike the abled brother, which could mean that the abled brother has to take care of the other one. Next, there is an establishing shot of the house, and a sound bridge as the camera cuts to the kitchen scene. In the kitchen David has a conflict with his parents because Ben has eaten all the weetabix. There is a lot of focus on Ben here, as the camea continuously cuts between him and the other characters. This shows that in the house Ben is the centre of attention. We see the mother place an affectionate kiss on Ben's forehead, and the camera cuts to a reaction shot of David. This shows that Ben receives more affection than David, which David may resent. The father also instructs David to take Ben to the toilet, rather than the father doing it himself. This shows that most of the responsibility is put on David's shoulders rather than the parents, which places a lot of restrictions on David's life. Next there is a montage of David and Ben's daily life together with a voiceover from David explaining his feelings about this. The use of the voiceover suggests that David does not have anyone to talk to about his feelings, and that he normally represses or compartilises these emotions because everyone is normally concerned with Ben. At the school, David and a friend have a conversation together. Ben is in the background, yet out of focus. This shows that although at home Ben is the centre of attention, once David goes to school he tries to normalise his life by not paying him a lot of attention. However, Ben's presence in the background shows that he will always be there, and that David will always have to take care of him.
Overall, the clip represents disabled people as being child-like and having to be taken care of by abled people. Abled people are either shown to be treating the disabled person like a child (the mother), or resenting them for impacting their life so much (David).
Monday, 16 March 2015
Game of Thrones Textual Analysis
Season 4 Episode 7
The room is dark and secluded, so all attention is directed towards Sansa. The lighitng is also low-key, to imply that something sinister is going to happen, which is also implied through the use of the rising music. However, this music stops when Sansa begins her story. Throughout her story Sansa cries and has to stop to take breaths. This si cnforming to the stereotype of young girls being delicate and emotional, a stereotype which is also prevalent in the sexist world of Game of Thrones. However, the long take at the end shows Sansa stop crying to look at Petyr Baelish, implying she was lying. This shows how Sansa was using this stereotype to manipulate the interrogators, which gives her power over them. In the world of Game of Thrones, females have little power, so they use their own negative tsereotypes to gane some sort of power. This is what Sansa does here. By manipulating her interrogators, Sansa is shown to be clever, which subverts the stereotype of young girls being silly/stupid. The long takes on Sansa and selective focus on her give her power and shows she is the most important character, which juxtaposes the misogynistic setting. However, Petyr Baelish is always out of focus in the background, and the camera continously cuts between him and Sansa. This signifies that he ahs some sort of power over her, which conforms to the sexist stereotypes of men being more powerful than omen.
The room is dark and secluded, so all attention is directed towards Sansa. The lighitng is also low-key, to imply that something sinister is going to happen, which is also implied through the use of the rising music. However, this music stops when Sansa begins her story. Throughout her story Sansa cries and has to stop to take breaths. This si cnforming to the stereotype of young girls being delicate and emotional, a stereotype which is also prevalent in the sexist world of Game of Thrones. However, the long take at the end shows Sansa stop crying to look at Petyr Baelish, implying she was lying. This shows how Sansa was using this stereotype to manipulate the interrogators, which gives her power over them. In the world of Game of Thrones, females have little power, so they use their own negative tsereotypes to gane some sort of power. This is what Sansa does here. By manipulating her interrogators, Sansa is shown to be clever, which subverts the stereotype of young girls being silly/stupid. The long takes on Sansa and selective focus on her give her power and shows she is the most important character, which juxtaposes the misogynistic setting. However, Petyr Baelish is always out of focus in the background, and the camera continously cuts between him and Sansa. This signifies that he ahs some sort of power over her, which conforms to the sexist stereotypes of men being more powerful than omen.
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