Thursday, 24 November 2016

Representation of Gender:Primeval

Representation Of Gender : Primeval




The essay below was written by a student in response to the question set in the June 2010 examination - we watched this last week.

This asked students to discuss how the extract from Primeval constructed a representation of gender.

The essay is typed out as it was written - any errors in the quality of written communication have been left in.


The representation of gender in the clip given conveys interesting and thought provoking ideas and contrasts between characters.

The young women called Abbey, her character steers away from the stereotypical image of women, young women, she is portrayed as a strong and feisty female, this is evident in the shots where she is operating a mechanical machine, with much skill and efficiency also. A wide shot is used when we first see her to establish the scene and location (the woods and forest). The close ups also of the end of the digger fortifies the fact that Abbey is experienced in using such a machine again reinforcing her non stereotypical portrayal, she is given the impression of a tomboy. The mis-en-scene used also fortifies this point, she has a short almost boyish hair cut and wears a leather jacket that makes us think of a character like Steve McQueen or perhaps “Greece”, mainly male, strong willed characters. 

The fact that she also fights the Sabre-toothed Creature, saving the man’s life shows her tenacity. The shot that this portrayed through is a continuity edit. Also the wide shot of her running after the man being chased reinstates this point again, as the man, who stereotypically is supposed to be strong and courageous is in fact running and being chased, this is a contrast to the women who is running through the forest with a gun to help him for a second time! The dark shape of the gun in her hands, reiterates, power, as a gun, is in this extract, power. 

The gentleman who is in a sky blue t-shirt is portrayed as more of an intelligent man, √brain rather then brawn. When the sabre-tooth attacks there is a close-up of him in the hole cowering, this goes against the usual stereotypes of a man, a contrast between him and Abbey. Despite his cowering he does show an instance of courageousness, when he lures away the creature from Abbey. Despite this brave act he still is running away from the sabre tooth tiger,  a continuity edit is present when he is running and also when he uses the zip wire, close ups show fear and exhaustion on his face. The fact that he also uses his belt on the zip wire again shows his brains over brawn. The mise-en-scene of his clothes convey a more stereotypical view of the man, they are neutral and earthy colours and are dirty and strained, this helps paint more of a picture of a mans man, or someone who is not afraid of getting their hands dirty. 

The non-diegetic sound of the ambient sound-track helps convey the tension and fear and also helps make the pace of the action a whole lot faster, especially in the chase scene, a combination of this music and also the fast pace of the editing raises the tempo and tension. The blurring and wipes between each edit gives the action the impression that it is too fast to see and fortifies the fact that the creature is very fast. The music becomes slower, but is ramped up with tension as sounds drove on through the scene with the man with the shotgun, creating a sense of dread and anticipation! This along with the wide shot and the man’s face, riddled with anger and malice, conveys a tension filled shot. 

The man who is wearing pink attire is portrayed as more of a pretty boy, lover not a fighter, the pink colour is more common to girls, women therefore gives him an air of effeminacy. The rest of the cast wear mainly earthy colours or smart suits etc, whereas he wears feminine colours turning the stereotypical image of a man on its head. The fact that he also doesn’t have a gun and instead, quite comically pulls a spade out, whereas the other two people in the shot both have guns, one a man and the other a women, this gives the impression that the women is almost more reliable than the man wearing pink.

The wide shot showing the tree in the barn gives a very theatrical feel to it, almost tries to emulate a sense of bravado and coolness that other films use e.g. the opening shot of Reservoir Dogs. Also the fact that there are three of them may portray symbolic qualities, like the three musketeers etc. 

The lady who is talking to the gentleman who breeds dogs is portrayed as a pristine, more of a stereotypical view of a lady. This is conveyed through the sequence “My Best Coat”! This provides a clear insight into her personality. She is strong whilst using words but when the man pulls out a gun a close up reveals her devastation and fear. Even the colour of the ladies “Best Coat” is white, which provides the thought of purity and pristine.

The over the shoulder shot and the cross cut editing reveals the rising anger of the gentleman breeding the dogs. He is weak when the pristine women threatens him but has much more power when he picks up the gun. The line “won’t be pushed around anymore” indicates his explosion of anger. The diegetic noise of the barking dogs also convey a sense of threat and hysteria. This shot conveys √the power of a weapon and also the power of words and how gender can be powerful. 

This extract turns a lot of ideas mostly stereotypical views of gender on its head, which therefore gives the viewer an interesting watch.  

The mark scheme for this exam can be found BY CLICKING HERE.

This is a pdf document which you can save to your area for future reference.

Thursday, 10 November 2016

G332 Exam Information

The Basics

There are two sections to this paper:

Section A: Textual Analysis and Representation (50 marks) 

Section B: Institutions and Audiences (50 marks)

The purpose of the 2 sections of the exam is:

Section A

to assess your media textual analysis skills and your understanding of the concept of representation using a short unseen moving image extract (AO1, AO2); 

Section B

to assess your knowledge and understanding of media institutions and their production processes, distribution strategies, use of technologies and related issues concerning audience reception and consumption of media texts (AO1, AO2):

The examination is two hours (including 30 minutes for viewing and making notes on the moving image extract) and you will be required to answer two compulsory questions. 

The unit is marked out of a total of 100, with each question marked out of 50.


Section A

In the first part of the exam you will be shown an ‘unseen’ moving image extract with one compulsory question dealing with textual analysis of various technical aspects of the languages and conventions of moving image media. 

You will be asked to link this analysis with a discussion of some aspect of representation within the sequence.

The unseen moving image extract will be four to five minutes long and will be from a television drama.


The sequence will be taken from a contemporary one-off drama or series or serial drama programme scheduled on British television stations including some sourced from other countries.

You will be prepared for this part of the examination using a range of examples from texts from the genre stated above.

You will be expected to analyse the extract through an exploration of how the 4 codes below are used:


  • Camerawork (Camera Angle, Shot, Movement and Composition)
  • Mise-en-Scène
  • Editing
  • Sound



Media Terminology

In order to be able to analyse the extract effectively you must have a clear understanding of what the following terms mean in relation to each of the codes:

Here are explanations for key media vocabulary terms that you need to be able to identify (and explain the effect of) in the exam.

Remember that 10 of the 50 marks available for your response in the exam are for the correct use of terminology.

Camera Shots, Angle, Movement and Composition

Aerial Shot 


A camera shot taken from an overhead position. Often used as an establishing shot.


Close Up 


A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.


Extreme Close Up 


A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.


Establishing Shot 


A shot that establishes a scene, often giving ther viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.


Medium Sho


The framing of a subject from waist up.


Two Shot 


A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship


Point-Of-View Shot (POV) 


Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.


Over the Shoulder Shot 


Looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphaise this)


Reaction Shot 


A shot that shows the reaction of a character either to another character or an event within the sequence.


Camera Angle 


The position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.


High Angle 


A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.

Low Angle 


A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.


Canted Angle (or oblique) 


Camera angle that makes what is shot appear to be skewed or tilted.


Pan 

Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.


Track 


A shot whjere the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.


Crane 


A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.


Steadicam 


A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.


Tilt 


Where a camera scans a set or setting vertically (otherwise similar to a pan).


Zoom 


Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.



Editing 


The stage in the film-making process in which sound and images are organised into an overall narrative.


Continuity Editing 


The most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.


Jump Cut 


An abrupt, disorientating transitional device in the middle of a continuous shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.


Cross Cutting 


The editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing


Cutaways 


A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.


Freeze Frame 


The effect of seemingly stopping a film in order to focus in on one event or element.


Eye-line Match 


A type of edit which cuts from one character to what that character has been looking at.


Flashback 

A scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.


Graphic Match 


An edit effect in which two different objects of the same shape are dissolved from one into the other.


Linear Narrative 


A style of storytelling in which events happen chronologically.


Montage Editin


The juxtaposition of seemingly unconnected images in order to create meaning.


Parallel Editing 


A type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.


Visual Effects 


Visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene. (see Cross Cutting)


Match on Action 


A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)


Sound


Diegetic Sound 


Sound that can be heard by the characters within a scene/ sound part of the imaginary world.


Non-diegetic Sound 


Sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).


Score 


The musical component of a programme’s soundtrack, usually composed specifically for the scene.


Sound Effects 


Sounds that are added to a film during the post-production stage.



Mise-en-scene 


all of the elements placed in front of the camera to be photographed; the settings and props, lighting, costume, make-up and figure behaviour.


Location 


The particular place and time created in the frame. 


Set 


The surroundings where the action will unfold; usually the stage, including integral design features.


Studio/set design 


The overall design concept present in the frame, relating to the set. 


Costume 


A style or fashion of dress, especially that of a particular place, time or class. Also hair and make-up.


Properties - (props)


Movable objects used in the construction of the mise-en-scene.


Positioning 


Of characters and objects within the frame.


Body language 


How characters behave physically including their facial expressions.


Production Design


Utilised to create characteristics within a mise-en-scene reflective of a certain historical period.


Colour design 


The style and combination of colours used in generating the mise-en-scene.


Lighting 


High key lighting: illumination that creates comparatively little contrast between the light and dark areas of the shot. Shadows are fairly transparent and brightened by fill light. 

Low key lighting: illumination that creates strong contrast between light and dark areas of the shot, with deep shadows and little fill light.


Representation



Do you know what 'representation' means in relation to media studies?

Representation is a specific media concept that you have to understand and be able to apply.

Representation is how media texts deal with and present gender, age, ethnicity, national and regional identity, social issues and events to an audience. 

Media texts have the power to shape an audience’s knowledge and understanding about these important topics.

This makes them very powerful in terms of influencing ideas and attitudes.

In order to analyse media texts to determine how they've represented ideas and issues, it's important to be familiar with some of the key terms.

Key terms in Representation

Construction

This is the way a media text is put together. In a film or television programme this includes the editing and choice of camera angles, in a magazine or newspaper it includes the layout and writing as well as the choice of images.

Mediation

This is the process everything goes through before it reaches an audience.
This can be how a film script is written and re-written before it makes it to production, how newspaper or magazine photographs are cropped and captioned, or how real life events - like a protest or a speech by a politician - are portrayed in a news report.

Selection

This refers to what has been selected to include in a media text.
This can be particularly important in newspaper articles, where selecting certain facts over others can change the angle of a story; what is omitted is sometimes as important as what is included.

Stereotypes

These are a simplified representation of a person, groups of people or a place, through basic or obvious characteristics - which are often exaggerated.For example, Vicky Pollard from Little Britain is a stereotypical example of a working class teenage girl.

They can be used to describe characters quickly, relying on existing audience recognition.
Stereotypes are dangerous as they can lead audiences to generalise about people or places.

Ideology

These are ideas and beliefs, held by media producers, which are often represented in their media texts.

In a newspaper, the ideology of the owner or senior editors could influence the way certain stories are represented, such as lending support to a particular political party.


In a documentary about asylum seekers, the representation of their story could be influenced by the ideology of the filmmaker or producer.

Exam Question 

In the exam your question will be as follows:

Discuss the ways in which the extract constructs the representation of using the following:





  • camera shots, angles, movement and composition
  • editing
  • sound
  • mise-en-scene

  • If you get confused by the wording of the question think of it this way instead:



    How is X re-presented to the audience by using the following:


    • camera shots, angles, movement and composition
    • editing
    • sound
    • mise-en-scene
    The 7 Areas Of Representation

    The 7 social groups which could be the focus of the questions are as follows:

    Age
    Gender
    Ethnicity
    Sexuality
    Social Class and Status
    Regional Identity
    Physical Ability and Disability

    Sample Extract

    1. Discuss the ways in which the following extract constructs the representation of age using the following:

    • Camera shots, angle, movement and composition
    • Editing
    • Sound
    • Mise-en-scene