Thursday, 13 December 2012

The TV drama clip ‘The Fear’ can be used to construct representation of social class using the following components: camera shots, editing, mise-en-scene and sound



During the extract, the social class is shown throughout the clip using four different components. The extract begins with the camera moving about from left to right, in the direction of the two characters, the camera uses a tracking movement. This camera movement has been used to show the audience the setting in which the clip is based in, the camera moves from left to right, rather than focusing on one thing i.e. the character or a particular prop. A long shot has been used by the camera which is quite effective for the audience as it shows them the ‘posh’ type room in which the clip has been set. These camera shots and angles are used so that the audience can identify the characters and the setting at once. It is obvious that social class is portrayed in the scene as the camera uses many angles to show the type of room the characters are in, as it has lavish furniture and large windows at the end of the room in which you can identify a large acre of land which can suggest that the doctors surgery and the people that work there are high class.

The sound in the clip also shows social class, this is because the first male character that appears in the clip (Richie) uses dialogue to the lady receptionist but talks down to her and it comes across as if he is belittling her, which suggests that he possesses more power than her, also because he is a man, he may feel that he has the right to talk down to her, although he is most probably the same class as the receptionist. He says “Looking for doctor Whiting” and by him speaking in a demanding and patronizing tone, makes Richie seem like a powerful and higher class character. The receptionist replies to Richie by saying, “Do you have an appointment” in a softer tone than Richie, but also comes across quite stern. This makes her look as if she is trying to show she is more powerful than him, because she may feel that she is higher class than him or that she does not wish to be spoken down to. As there is not any non-digetic sound and there is just dialogue, it builds tension when the doctor’ receptionist rebels against Richie. More dialogue is used when Ritchie replies, “Just tell him its Richie”. The receptionist replied to the patient again by replying “I’m afraid doctor Whiting can’t see anyone without an appointment” and then pauses to let Richie think but then adds “I’m afraid I’m going to have to ask you to remove your car”. This shows representation of class because the woman who is the higher class is more dominating and demanding, even though at the beginning of the clip, the male character seems more powerful than her. However, by the receptionist telling Richie to move his car, this makes her seem demanding and as if she is now talking down to him.

Editing has also been used in the extract to represent social class. An example of editing that has been used is when the camera movement moves back to the very first tracking to view the whole reception room again. The camera shot of Richie’s close up shot of his face has been edited and has been cut into a long shot. This goes from making Richie look powerful to looking smaller which suggests he may not be higher class. The next shot that is shown of Richie is the close up in the doctor’s room. This editing cut has been done from one long shot to a close up to show his facial expression. Due to Richie’s personality comes across to the audience as aggressive and patronising, it shows that he is not from a very posh or formal background unlike the receptionist who uses a formal tone of voice and vocabulary and also Doctor Whiting who is also formal and seems very dedicated and passionate about his job as a Doctor. You can see this from listening to the dialogue “What do you want Richie?” This dialogue shows that the Doctor thinks Richie must be ‘messing him around’ and wasting his time by joking about. It represents class because the Doctor is clearly from a higher class than Richie and is looking down onto Ritchie who seems to be upsetting or annoying people in the reception area.

Mise-en-scene in both scenes has been portrayed to represent social class because in the reception area and then into the doctor’s room both show representation of class. The reception area is very large, with props used to show that the doctors is for higher class people as the furniture is very posh, such as the couch and the receptionist’s large, wooden desk. The receptionist’s costume is also very smart and formal, much more formal than an ordinary, middle class’ receptionist’s clothes. Even though Richie is in a suit and comes across as quite formal from his costume, the way he presents himself by picking up the prop, a computer keyboard and almost hits the receptionist with it, he comes across as intimidating and violent. This makes Richie look like he is from a high class by being demanding to the receptionist and coming across as powerful. After Doctor Whiting comes to see what the fuss was bout, he sees Richie at reception and caught him with the keyboard prop in his hand and about to swing at the woman.

Overall, social class has been represented in this clip by the use of sound, Mise-en-scene, editing and camera shots. Camera shots and angles are effective by making the character look more or less powerful which can represent their class type and the higher class looking powerful. The sound and dialogue plays a big part in the clip because the tone of voice i.e. the formal language or tone they use can make them seem high class because of their background and the way they have been brought up makes them speak in a different way to those who are from a middle class background. 

Thursday, 6 December 2012

Textual Analysis

  • -representation is linked to economic forces
  • -representation is shaped by technology, which is described as a fragmented audience

  • textual analysis is an advanced form of media literacy and a basic level of it allows somebody to understand the narrative of a tv drama and to make criticisms in relation to other programmes

  • For us to deconstruct a tv drama we need to know how its been put together and to do this we need to work at micro and macro levels of the text

  • micro level means pulling apart aspects of the texts frame by frame construction

  • frame construction includes camera angles and the movement, shot types, editing transitions music/sound effects and mise-en-scene (lighting choices, props and costumes)

  • To work at macro level it means drawing up conclusions from micro work about how the sequence represents themes and people

  • also witness the interpretations that viewers will create

Representation 

  • when people say did you watch the game last night?' you would say yes but strictly speaking your not..because your are really watching a meditated constructed re-presentation of the match

Metaphor

  • Gauntlett (2007 developed a research method using lego, he asked people to make a metaphorical model with the lego so it represents their identity, he didn't expect them to make models that resemble them so that way he can get a better sense of how people see themselves and present them

Verisimilitude

  • when we look at how a media text represents the world we are usually concerned with the representation of age, gender, ethnicity social groups, places and themes

  • to explore representation in a tv/radio drama we will be asking

  • What kind of realism is being attempted by the programme, who is being represented in the drama, who is not being represented and why, whether we can identify any stereotypical characters, is there a dominant view of the world that has been represented and what different responses might the audience members make to the representations.

Representational codes

  • 'Life On Mars' is a good example of a tv drama that is rich with representational codes. the drama depends on the juxtaposition. Without the audiences complicity in understand the contrast the text is meaningless.

Chapter 2.1- TV drama

  • British TV still attracts huge viewing audiences and many of the shows are watched as one off peak time broadcasts
  • drama series has huge potential to produce ongoing revenue through sales to other countries and channels as well as DVD sales, but 'propor TV drama' brings prestige to institutions that attempt to make it
  • but british TV drama is no longer as big as it was

  • Connolly concludes that while British TV drama is now something of a poor relation in comparison to the america producer, it is still a fairly healthy state
  • camera shots- establishing shot, master shot, close up, mid-shot, long shot, wise shot, two shot, aerial shot, point of view shot and over the shoulder shot

  • camera angles- high, low and canted angle

  • camera movement- pan,tilt, track,dolly,crane, steadicam, hand-held, zoom, reverse zoom

  • camera composition- framing, rule of thirds, depth of field, deep and shallow focus, focus pulls

  • editing- transition of image and sound, continuity and non systems, cutting, shot/reverse shot, eyeline match, graphic match, action match, jump cut cross cutting, parallel, editing, cutaway, insert, dissolve, fade in and out, wipe, superimposition, long take, short take, slow motion, ellipsis and expansion of time

  • sound-diegetic, non, synchronous, sound effects, sound motif, sound bridge, dialogue, voiceover, model of address, sound mixing, sound perspective, soundtrack, score, incidental music themes, ambient sound

  • Mise-en-scene- production design, location, studio, set design, costume and makeup, properties, lighting, colour design

Background to TV drama

there are different types of tv drama that have different conventions

  • teen dramas
  • soap operatas
  • costume dramas
  • medical/hospital dramas
  • police/crime dramas
  • docu dramas

Teen dramas

  • it is a broad sub-genre, generally these are concerned with striking an entertaining balance between social issues that are of concern of the target audience, and creating an attractive representational range of recognisable character types. But the other issue of it is should kids copy the negative behaviour they see?

Examples of teen dramas such as 'grange hill' can be views as a social document that represents a range of social changes.

  • teen dramas are unlike the rest of our examples as they do not set out to appeal to such a broad audience

Soap operas

  • the soap opera format can be a area of study in its own right and can be the important interplay is between the micro and the macro elements of textual analysis.

  • soap operates rely on intertexual or extra textual meanings. However soap trailers have become increasingly sophisticated.

  • terms of popularity we need to consider whether the reason for the longevity of the pleasure offered by these texts is to do with representation

Period dramas

  • not all of them are literacy adaptation but they do account for a substantial part of the sub-genre.

  • period drama is expensive to produce because of the high demands and fees earned by the kinds of acting personnel expected by the audience.we can say that they tend to be more 'filmic' in quality and that those that are based on literature will represent people and issues largely in keeping with the original novel or play

Hospital dramas

  • they balance two different narrative themes; public health and the treatment of illness and workplace interactions and relationship, this shares many conventions with soap operas

  • they feature a range of character types that are referred to as stereotypes

Crime dramas

  • there are 2 kinds; one off crime tends to focus on the kinds of crime that create the most anxiety among the viewing public and long running tv crime dramas will have a variety of sub-plots over time that build up sustained audience interest, each one will have its own unique representational aspects that are not directly related to the crime being investigated

  • media representations of crime normally set up 5 key binaries

  • crime/the police, criminals/the justice system, lawyers versus courts, social workers versus the police and victims versus the public, each one can be analysed using this system to get a sense of how each programme represents crime and law differently