On this page you will find all of then information that you need about the G322 exam which will take place in May 2017.
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.
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:
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.
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 Shot
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.
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 Editing
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)
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.
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.
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 x 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:
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.
Assessment Task
Working in pairs or threes, read the above response carefully and use the mark scheme to award a mark for each of the 3 assessment areas.
My Assessment
Explanation/analysis/argument
I would award this response a mark of 13/20. The candidate shows proficient understanding of the task but there is not enough clarity and coherence in the response to move this into level 4 territory.
The candidate shows proficient understanding of the ways in which the 4 technical areas create meaning but, again, this is not excellent. Most, but not all, of the analysis is relevant to the set question.
Use of examples
I would award this response a mark of 15/20. There are consistent references to extracts from the text which support and illustrate the analysis of the candidate and these are generally relevant to the set question. All 4 technical areas are covered.
Terminology
Use of terminology is mostly accurate and I would award a mark of 7/10. There is some clumsiness in the use of terminology and I think that this candidate has a proficient understanding of terminology but this is not developed and secure enough to merit a mark in the level 4 criteria.
Overall Mark
35/50
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
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 Shot
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 Editing
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 x using the following:
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:
Exemplar Analysis
A low angle shot of tan leather shoes walking slowly but confidently across the floor suggests connotations of authority. This then cuts to a medium shot of an older teacher and two young pupils. The teacher conforms to stereotypical representations of older age through elements of the mise-en-scene including his dress code, body language but also his tone of voice. He wears an old fashioned cardigan, is standing with his hands in his pockets and is talking in a sarcastic way to the pupils who wear school uniform (signifying binary oppositions of age), stutter and lack confidence when replying. The teacher is then framed centrally between the two pupils. The camera cuts to a two shot in medium close up of him standing next to a younger teacher again promoting his stereotypical age and wisdom by patronising her for not insuring the video camera in diegetic dialogue and using his body language.
Explanation/analysis/argument:
Use of examples:
Use of Terminology:
QWC (Quality of Written Communication)
Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any, errors of grammar, spelling and punctuation.
Mark: 46/50 (A Grade equivalent)
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
Exemplar Analysis
A low angle shot of tan leather shoes walking slowly but confidently across the floor suggests connotations of authority. This then cuts to a medium shot of an older teacher and two young pupils. The teacher conforms to stereotypical representations of older age through elements of the mise-en-scene including his dress code, body language but also his tone of voice. He wears an old fashioned cardigan, is standing with his hands in his pockets and is talking in a sarcastic way to the pupils who wear school uniform (signifying binary oppositions of age), stutter and lack confidence when replying. The teacher is then framed centrally between the two pupils. The camera cuts to a two shot in medium close up of him standing next to a younger teacher again promoting his stereotypical age and wisdom by patronising her for not insuring the video camera in diegetic dialogue and using his body language.
This shot then cuts to a scene where we see an older male site manager (the camera shows a close up of his door plaque) and a young male pupil in conversation. The pupil’s body language is stereotypical as he leans against a wall while the non conformist way he wears his tie (not tied up properly, big knot) has stereotypical connotations of rebellious youth culture. The older site manager sounds verbally more confident and although not a teacher is smartly dressed for the work environment with a pencil behind his ear, itself having connotations of work. This frames him in binary opposition to the boy who appears lazy and who is persuaded by the older wiser site manager to go away and write his essay. In a short period of time during these first two scenes clear stereotypes of older age signifying wisdom and youth signifying rebellion are established.
A long shot front on shows two girls and a boy walking into medium shot along a school corridor. Again, the girls’ dress code suggests rebellion while all three are discussing their parents and a problem with a fellow pupil’s parents. This furthers the connotations of their young age and emphasises their vulnerability and reliance on older adults. However, the connotations of age and wisdom are disrupted in this scene as a close up reveals a girl who describes her parents as a “dad who never comes home” and a “mum who is a ho-bag”. This burst of diegetic dialogue is important in challenging age stereotypes representing older people as more responsible, as quirky upbeat non-diegetic music starts. This music reinforces stereotypes of youth culture and the school environment they are in.
In the following scene we see a male teacher positioned higher than his pupils behind a desk in a stereotypical classroom situation. He is framed in medium shot. The mise-en-scene anchors his age, authority and status with objects and props including school desks, books, wall displays and a white board projection representing the younger pupils. In terms of dress code there is also a clear difference between the older teacher and the students as his authority is revealed by his dress code, which includes a shirt and tie but also with sleeves rolled up suggesting he is ready for some serious work. The pupils wear their uniforms casually rejecting stereotypical conformity with one girl wearing larger hooped earrings.
The non-diegetic music changes to something more fast tempo as club music (more upbeat than before) and use of hand held camera introduce two students, Amy and Stuart, in confrontation. The moving hand held camera, increased tempo of the music and framing all add to reinforce the fact that this is a stereotypical school spat between two young pupils. As the teacher rushes in the pace of the editing increases as it appears that the boy is having an asthma attack. The older teacher uses his stereotypical calmness and authority to deal with the situation while diegetic dialogue parallels the anxiety that the editing represents with phrases uttered by the teacher like “where is his inhaler?” The club music is edited into a piece of music with more hip hop connotations and is used as a sound bridge to the next scene cutting to a low angle shot of a man in front of a set of doors.
The camera tilts up to reveal an older Maths teacher looking embarrassed wearing stereotypically young person’s clothing including low slung jeans with high visible underpants, trainers and a music t-shirt. This then intercuts with a shot of a bubbly young girl in high angle standing on the stair trying to reassure him that he looks OK. The camerawork challenges the traditional meaning of low angle and high angle by representing the subject shot in low angle (the teacher) as vulnerable; he is trying to appeal more to his pupils by dressing younger. His vulnerability is reinforced by a two shot of two schoolgirls laughing at him for trying to look more fashionable even though the girl on the stairs states: “what do kids know about fashion?” In this respect the girl on the stairs challenges the stereotype of a younger person by showing stronger affiliation with someone who is older than her rather than siding with those who are closer to her own age. Finally, a medium close up of two teachers reveals one trying to persuade the other to go back to his usual dress code while the presence for the first time of only adults in the frame signifies the end of the non-diegetic music.
Explanation/analysis/argument:
- Excellent understanding of the way that technical aspects are used to construct a representation.
- Clear logical deconstruction of text linking directly to the question.
Use of examples:
- Good range of examples and appropriate sequences analysed to reveal a representation. There are some other examples that could have been referred to but this does not deter from the overall quality of the essay.
- The key focus has been on camera shots, angles, movement, composition, mise-en-scene and sound with some reference to editing, which perhaps could have been developed a little more.
Use of Terminology:
- Sophisticated use of media language and technical terminology.
QWC (Quality of Written Communication)
Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any, errors of grammar, spelling and punctuation.
Mark: 46/50 (A Grade equivalent)
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
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.
Assessment Task
Working in pairs or threes, read the above response carefully and use the mark scheme to award a mark for each of the 3 assessment areas.
Be prepared to explain your assessment.
Explanation/analysis/argument
I would award this response a mark of 13/20. The candidate shows proficient understanding of the task but there is not enough clarity and coherence in the response to move this into level 4 territory.
The candidate shows proficient understanding of the ways in which the 4 technical areas create meaning but, again, this is not excellent. Most, but not all, of the analysis is relevant to the set question.
Use of examples
I would award this response a mark of 15/20. There are consistent references to extracts from the text which support and illustrate the analysis of the candidate and these are generally relevant to the set question. All 4 technical areas are covered.
Terminology
Use of terminology is mostly accurate and I would award a mark of 7/10. There is some clumsiness in the use of terminology and I think that this candidate has a proficient understanding of terminology but this is not developed and secure enough to merit a mark in the level 4 criteria.
Overall Mark
35/50
Representation Of Gender : Sherlock
Representation of Physical Ability and Disability
The media continue to enforce disability stereotypes portraying disabled individuals in a negative un-empowering way.
In his 1991 study Paul Hunt identified 10 stereotypes that the media use to portray disabled people:
In his 1991 study Paul Hunt identified 10 stereotypes that the media use to portray disabled people:
- The disabled person as pitiable or pathetic
- An object of curiosity or violence
- Sinister or evil
- The super cripple
- As atmosphere
- Laughable
- His/her own worst enemy
- As a burden
- As Non-sexual
- Being unable to participate in daily life
Click here to read a breakdown of each of these stereotypes.
These are useful in relation to identifying the ways in which characters with disabilities are represented in television dramas.
For example, when we looked at the extract from 'Coming Down The Mountain', which of these stereotypical representations do you think would have been applicable to Ben?
CLICK HERE to visit Reel Rundown's Top 10 TV Shows With Disabled Characters.
Sky recently aired a drama series called "The Smoke" which included a disabled character, Grace, at the centre of some of the story lines - you can read an article discussing this character's representation by clicking here.
Here is the end of Episode 5 which features 2 different representations of disability:
CLICK HERE to visit Reel Rundown's Top 10 TV Shows With Disabled Characters.
Sky recently aired a drama series called "The Smoke" which included a disabled character, Grace, at the centre of some of the story lines - you can read an article discussing this character's representation by clicking here.
Here is the end of Episode 5 which features 2 different representations of disability:
Representation of Physical Ability and Disability
Assessment Essay
We will watch the extract below and, as a class, discuss the ways in which it constructs representations of physical ability and disability.
I would now like you to produce a response to the question below.
This would have to be completed in approximately 45 minutes in the exam but you may take more time than this.
You may watch the extract as many times as you wish.
Completed essays must be emailed to me by 4pm on Tuesday 14th December.
Remember to look back at the mark scheme to help you to understand what is being looked for.
Please complete the essay in Microsoft Word with a font size of 12.
My email address is philiphenton@kba.uk
Discuss the ways in which the extract constructs the representation of physical ability / disability using the following:
- Use of the camera (framing, angle, movement, composition)
- Editing
- Sound
- Mise-en-scene
Student Responses
I have pasted below 4 responses to the above question for the extract from 'Coming Down The Mountain'.
These are for Student A, Student B, Student C and Student D.
1. Copy and paste this task and the responses across to your blog.
2. Use the highlighter to identify terminology that is used for each code as below:
- Use of the camera
- Editing
- Sound
- Mise-en-scene
3. Refer to the mark scheme for the exam which can be found BY CLICKING HERE and rank the essays from 1-4 with 1 being what you consider to be the best.
Student A
The representation of disability in the clip shows fascinating contrasts between characters with a disability and those without.
The character of Ben has the mental disability Down Syndrome. His character portrays a stereotypical image of someone with a mental disability as he is shown throughout the extract as dependent on others, especially his brother David. During the final scene on the bus, the non-diegetic sound of David’s voice says that they have never been more than half a mile apart. This shows that David is always there for Ben and he doesn’t really leave his side. This reinforces the stereotype of disabled people, the fact that they can’t do things on their own and that they need someone to rely on for everything. During the scene in the kitchen, Ben shouts “I need a poo”. This is seen as a funny comedic line which is stereotypical as people with a mental disability are seen as inferior and peculiar compared to an able human.
The character of David is portrayed as a stereotypical teenager. His views on his disabled brother Ben are fairly extreme. For example, the opening line of the extract is “Last summer I decided to kill my brother”. This shows that David isn’t very close to his brother. It’s non diegetic as it’s David’s thoughts speaking. They show the room in a bird’s eye view so the contrast between both halves of the room can be clearly seen. David’s half of the room, dull boring and colourless. Whereas Ben’s side is colourful and vibrant almost childlike. This continues the stereotype of Ben and his disability. During the kitchen scene, David tells Ben a story about how pigs are killed to make bacon. Shot reverse shot is used to show the look on David’s face when he tells the story, then it switches to Ben’s innocent face. This shows the audience how David is trying to wind up his disabled brother.
This extract shows very stereotypical representations of disabled and able people.
This essay focusses on the representations of David and Ben only and there are missed opportunities in relation to making reference to the mother and father who appear in the extract.
The essay is quite well written although there are some phrases such as 'They show the room..' which are clumsy and lack sophistication.
This student has made some valid points but does not develop them in the detail that would be required to achieve a higher level. The essay is, overall, rather too brief.
This essay focusses on the representations of David and Ben only and there are missed opportunities in relation to making reference to the mother and father who appear in the extract.
The essay is quite well written although there are some phrases such as 'They show the room..' which are clumsy and lack sophistication.
This student has made some valid points but does not develop them in the detail that would be required to achieve a higher level. The essay is, overall, rather too brief.
Student B
The representation of physical
ability and disability presents to us as the audience different aspect on how
physical disability and ability affects the characters in everyday life.
The audience is first greeted with a
high angle shot looking down into Ben and David’s room and immediately we can
see a split between both sides. One side is colourful and the other is dull
showing the audience that they are binary opposites of each other. The camera
pans round David’s face to show his facial expression which is pure hatred
towards Ben which is backed up by his dialogue “I decided to kill my brother”.
Stereotypically Ben is shown with cartoonish bed sheets and children’s toys
suggesting he is incapable of doing things you’d associate with his age group. We
also get a close up of bens face as David is doing a voice over to clearly
elaborate on the face Ben has Down syndrome. Montages of evolutionary pictures
are shown matching David’s voice over talking about evolution a chemical. This
is shown to show ben is a burden on David and that his voice is stereotypically
used as humour and less of a serious issue since ben calls him “A potato with
eye tentacles”. This phrase also could have a duel meaning suggesting that Ben
is as incapable as a vegetable, a word people use to be demeaning towards
people with a disability and therefore he can’t participate normally in daily
life which is another stereotype. The way David treats ben can almost be
described as sinister as he constantly saying derogatory things to Ben like how
he yells at him for the Weetabix and explains in graphic detail how pigs are
killed.
Ben’s mother and father treat him
almost completely opposite to have David treats him. When Ben and David are
having a dispute in the kitchen about the Weetabix the camera shot focuses on
bens mother as she says “now that wasn’t very nice ben now was it” almost as it
she was talking to a child. The shows that she is almost pitiful of ben and
maybe feels bad for the way he turned out so she is more overprotective which
is stereotypically how a abled bodied person would react in that scenario.
Ben’s father acts slightly different as in he talks about ben like he isn’t even
in the room. This is shown when Ben says “I need a poo” is a stereotypically
humorous style and his dad tells David to go with him as he doesn’t want him to
“make a mess like last time” whilst ben is still in the room. This shows that
the father is ashamed as ben as to cope with the disappointment ignore the fact
he exists. The phase the father said is also more evidence to show that Ben
cannot do things normal people can do in daily life adding to the stereotype of
a disabled person.
Student C
The non-diegetic sound in the film was a voice over from David (main character) and his thoughts about his younger brother Ben who has Down syndrome and considered a burden by David.in the beginning of the film we see a montage editing of evolution. David thinks that when mankind evolve disabled people have not yet managed to evolved David is deliberately unkind to Ben. There is tension between the two binary oppositions. In the kitchen scene where David and Ben are eating breakfast, shot reverse shot, close up and ark are used for effect during their conversation. Shot reverse shot is used when either David or Ben is talking. A close up shot of Ben is taken when he and his brother are arguing over the Weetabix and as he is fantasising about killing his brother. Flashbacks are also used when David is thinking about him and his families previous holidays. An extreme close up is taken later showing Ben in a more sympathetic light. This makes the audience feel sympathetic towards Ben. Towards the end diegetic sound of dialogue in the background when Ben is left alone find his own way back home, the slow and sad music is then lowered to gain more sympathy for Ben from the audience. David refers to Ben as an abnormal kid when he says “normal kids”. Throw editing, inter close up from David to Ben is used to show the expressions of the two characters. David’s face reflects pure hatred and anger towards his brother whereas Bens face portrays innocence as he sleeps peaceful in his bed. This interpretation is also reflexes of the structure and colour scheme of their room. Ben and David share rooms, birds eye view angle shows you a clear image of their room. On the left side of the room everything is colourful and bright. This could a reflection of Ben’s autistic mind and how he likes things to be. On the other hand, there is David’s side of the room. This half is very dull and gloomy; this also could represent David’s thoughts about his life. Ben is a stereotypical representation of a disabled person. This mother treats him as if he as a baby -or a small child- and talks down to him. In some ways David is a representation of teenager; he likes to go out with his friends and likes to go to parties. He also dresses like a regular teenager. However, you could argue that David is not a regular teenager. This is because he has to always look after his younger brother, making sure that he doesn’t get in trouble or gets lost or gets hurt.
Student D
Coming
Down the Mountain opens with a birds-eye shot of
the boys’ bedroom to emphasise the binary opposition with a split down the
middle of the room; although this is explored in greater detail in terms of
mise-en-scene, having the shot looking down on the boys immediately presents
the viewer with an outsider’s view of their relationship, without a character’s
viewpoint altering anything. We are shown immediately that there is an
emotional rift between the two boys where the physical one might not be so evident,
due to their dissimilar interests and the physical distance in their placements
in the shot. This particular shot is also interesting in the sense that we are
exposed to Ben’s face as he sleeps on his back, which is quite a vulnerable
position to be in, and also exposes the physical aspect of his disability. David,
however, as the representation of an able-bodied person, is upright, guarded,
and therefore we can only see the top of his head. Here, we see helplessness in
the disabled representation, whereas the able are more capable of reserving
themselves and being in control of their actions. During David’s narration,
there is a close up on Ben when he speaks about, “a potato with eye sockets”,
which immediately shows that he is referring to his brother in such a way.
Essentially, Ben is being described as a vegetable with eyes. This isn’t just a
physical comparison, but also mental; he is presenting people with Downs
syndrome as being oblivious, inhuman, and incapable. Comedic relief aside, he
is telling the audience that his brother and people like him are so dependent
on others that they cannot function by themselves, and are more akin to food
than they are people. Frequent close up shots on David show hateful expressions
in his face to contrast with Ben’s oblivious looks, which gives us insight from
both perspectives. Ben is shown to be naïve, as he doesn’t notice that his
brother doesn’t like him, or at least does nothing to retaliate; David, on the
other hand, is hateful, unsympathetic to Ben’s vulnerability, and has no desire
to help him. Here, we are shown a representation of disabled people as a
burden, one whose impact leaves collateral damage in the lives of people around
him. During the kitchen scene, the camera shows many extreme close ups on Ben’s
face, which is uncomfortable for some viewers due to his physical disability. Ben
is given a regular close up – perhaps this is to emphasise to the viewer how
discomforting and affronting Ben’s presence is in David’s life. Alternatively,
it could be a physical representation of the extreme attention the family seems
to give to Ben, while David is relegated to the sidelines, and seen as immature
for protesting against the favouritism. There are subtle differences in camera angles
in the final scene, in which David leaves Ben to go home by himself. The camera
is always slightly above Ben, dwarfing him. As a viewer, we are looking down on
him, creating vulnerability compared to David, who the camera is slightly below
eye level with – he looks taller, more powerful, and in control. Again, we are
given a clear image of David’s superiority in the relationship as an
able-bodied person. Ben, who depends on him, and is afraid to travel home by
himself, is forced to submissively agree to the more able, and therefore more
powerful, David.
The montage edit of prehistoric man and
creatures in the beginning gives the impression that able-bodied people are the
natural products of evolution, whereas the disabled are abnormal, as if they
are nature’s flukes. Cuts between shots from Ben to David (and vice versa) show
a severe contrast between two boys. For example, in the opening, a frowning,
upright, thoughtful David cuts to a sleeping, innocent, childlike Ben – David
is the one that plans to kill his brother, being intelligent enough to do so,
whereas Ben, the disabled brother, has no power to stop the violence that is to
be inflicted on him. It happens again in scene one, in which Ben stares dumbly
at his Weetabix before he eats it, only to cut to David frowning in distaste
and disgust, his face scrunched – this communicates that disability is strange
and disgusting, and they are opposite to able-bodied people in every way. The increase
in pace in the tense moment of David trying to snatch the Weetabix ends on a prolonged
shot of Ben being shielded by Dad. It is noticeable here how David’s shots at
the breakfast table tend to feature him alone, whereas the whole family are on
Ben’s side of the kitchen, perhaps emphasising the family split.
David narrates throughout the extract to
give an insight into David’s perspective on Ben. Here, we see the divide in the
representation of able and disabled people. For instance, David’s description
of “normal kids” in opposition to “kids like Ben” divides the two into separate
groups. There is also the admission of, “I had to get some space” after David
leaves Ben to go home by himself. Again, we are shown that the disabled
character is suffocating the abled one, and becoming the very bane of his life,
to the point that he will put him in danger just to have some relief. The jolly,
diegetic music from radio after the opening immediately sets a domestic scene
of a family in the kitchen together, listening to a radio, suggesting that
there is a sense of normality to this family. However, the lyrics, “wouldn’t it
be nice if we were older” seem to parallel with David’s feelings that, if he
weren’t a teenager under the command of his parents, he’d have freedom from the
burden of Ben. When David is telling lies about killing pigs, there is a
muffled, diegetic police siren sound as the story comes to a climax. As well as
linking into David’s illegal plot to kill his brother and his troublemaker
representation, it creates a starker contrast to Ben’s innocence, which is
further shown by the non-diegetic music drowning out the ambience when he is on
bus later in the extract. Perhaps this suggests his disconnection with the
world around him because of his disability, and how he struggles to keep up
with or blend into society because of it.
In terms of mise-en-scene, the panning shot
around David’s half of the bedroom reveals a poster of the rock band Bring Me
the Horizon. Immediately, we are influenced by stereotypes to interpret that
David is a problem child, as the sort of teenagers that listen to such music
are often seen as parent-hating delinquents. On the contrary, Ben’s messy and colourful
room can be perceived as childish, therefore suggesting a lack in mental
development that makes him inferior to the able. In the aforementioned scene,
Ben is wearing a patterned shirt for pyjamas, which makes him seem emotionally
younger than David. The latter seems to have been sleeping without a shirt,
perhaps portraying him as more mature and masculine than his boyish sibling. The
actors’ skill also plays a part; Mum coddles Ben, and speaks to him patronisingly,
as if to a baby. This representation reflects a mother’s need to show her
children love, but also shows how the disabled can be mollycoddled too much,
and treated as inferior just because they aren’t like ‘normal’ people. Her
insistence on calling David selfish for wanting Ben to share the Weetabix
furthers this representation, showing that she will spoil Ben to ‘make up for’
his disability, and will punish David for acting out against the unequal
treatment. Even the way she bids Ben goodbye and kisses him on her way out of
the house, but completely ignores David, emphasises how she treats her disabled
child as fragile, but doesn’t have as much care for the emotions of her able
son. Dad doesn’t seem to have as much of a bias, but refers to Ben as if he
isn’t in the room, as if he’s subhuman and can’t understand people talking
about him. Once again, the disabled are seen as lesser beings that cannot be
communicated with in the same way as the able. The costume in final scene is
cleverly chosen to symbolise different traits about the boys. Ben wears a white
hoodie, the colour of purity and innocence. This continues to portray him as
the golden child that can do no wrong, and weakens him in comparison to David.
The latter wears all dark colours, and appears more rugged. Due to his ability,
which Ben doesn’t have, he is seen as the less innocent of the two, and is
literally perceived as the black sheep of the family due to his awareness that
treating Ben the way his parents do is pointless and unfair.
Clips To Use For Exam Practice
Clips To Use For Exam Practice
Representation Of Ethnicity
The following information is taken from the RevisionWorld website which can be accessed by CLICKING HERE.
This is a Sociology revision page but there is lots of useful stuff here about gender, age, etc as well as ethnicity.
"Many sociologists believe that media representations of ethnic minority groups are problematic because they contribute to the reinforcement of negative racist stereotypes. Media representations of ethnic minorities may be undermining the concept of a tolerant multicultural society and perpetuating social divisions based on colour, ethnicity and religion.
Evidence suggests that, despite some progress, ethnic minorities are generally under-represented or are represented in stereotyped and negative ways across a range of media content. In particular, newspapers and television news have a tendency to present ethnic minorities as a problem or to associate Black people with physical rather than intellectual activities and to neglect, and even ignore, racism and the inequalities that result from it.
Stereotypical representations
Akinti (2003) argues that television coverage of ethnic minorities over focuses on
crime, AIDS in Africa and Black children’s under-achievement in schools, whilst
ignoring the culture and interests of a huge Black audience and their rich
contribution to British society. Akinti claims that news about Black communities
always seems to be ‘bad news’. Van Dijk’s (1991) content analysis of tens of
thousands of news items across the world over several decades confirms that
news representations of Black people can be categorised into several types of
stereotypically negative news.
Ethnic minorities as criminals – Black crime is the most frequent issue found in media news coverage of ethnic minorities. Van Dijk found that Black people, particularly African-Caribbeans, tend to be portrayed as criminals, especially in the tabloid press and more recently as members of organised gangs that push drugs and violently defend urban territories.
Ethnic minorities and moral panics – Watson (2008) notes that moral panics often result from media stereotyping of Black people as potentially criminal. This effect was first brought to sociological attention by Hall’s classic study of a 1970s moral panic that was constructed around the folk devil of the ‘Black mugger’. Further moral panics have developed around rap music, e.g. in 2003, ‘gangsta rap’ lyrics came under attack for contributing to an increase in gun crime.
Ethnic minorities as a threat – ethnic minorities are often portrayed as a threat to the majority White culture. It is suggested by some media that immigrants and asylum seekers are only interested in living in Britain because they wish to take fraudulent advantage of Britain’s ‘generous’ welfare state. Poole (2000), pre 9/11, argued that Islam has always been demonised and distorted by the Western media. It has traditionally been portrayed as a threat to Western interests. Representations of Islam have been predominantly negative and Muslims have been stereotyped as backward, extremist, fundamentalist and misogynist.
Ethnic minorities as dependent – news stories about less developed countries tend to focus on a ‘coup-war-famine-starvation syndrome’. Often such stories imply that the causes of the problems experienced by developing countries are self-inflicted – that they are the result of stupidity, tribal conflict, too many babies, laziness, corruption and unstable political regimes. External causes such as colonialism, tied aid, transnational exploitation and the unfair terms of world trade are rarely discussed by the British media.
Ethnic minorities as abnormal – the cultural practices of ethnic minorities are often called into question and labelled as deviant or abnormal. Many Asian people believe that the media treatment of arranged marriages was often inaccurate and did not reflect the way that the system had changed over time. Ameli et al. (2007) note that media discussion around the issue of the wearing of the hijab and the veil is also problematic, often suggesting that it is somehow an inferior form of dress compared with Western female dress codes and that it is unnecessary and problematic. It is often portrayed as a patriarchal and oppressive form of control that exemplifies the misogyny of Islam and symbolises the alleged subordinate position of women in Islam.
Ethnic minorities as unimportant – Van Dijk notes that some sections of the media imply that the lives of White people are somehow more important than the lives of non-White people. News items about disasters in developing countries are often restricted to a few lines or words unless there are also White or British victims. Moreover, Sir Ian Blair, the former Metropolitan police commissioner, claimed that institutionalised racism was present in the British media in the way they reported death from violent crime. He noted that Black and Asian victims of violent death did not get the same attention as White victims. However, the murder of the Black teenager Stephen Lawrence by White racists in 1993 received high-profile coverage, both on television and in the press.
Ethnic minorities as invisible – in 2005, a BBC News Online survey noted that Black and Asian people were represented as newscasters and television journalists, but the range of roles that ethnic minority actors play in television drama is very limited and often reflects low status, e.g. Africans may play cleaners or Asians may play shopkeepers. Ethnic minority audiences were also very hostile towards tokenism – the idea that programmes contain characters from ethnic minority groups purely because they ‘should’. Ethnic minority audiences complain that Black and Asian people are rarely shown as ordinary citizens who just happen to be Black or Asian."
The 3 extracts below are all good examples for analysis.
Ethnicity has only been used once as the focus for representation in the exam so should be treated as a HIGH possibility of the focus for this year's exam.
June 2015 Exam Extract and Exemplar Responses
The extract is bellow along with a link to a pdf document showing exemplar responses to this extract.
Representation Of Sexuality
Extract from 'The Street'
Extract from 'Holby City'
Extract from 'Eastenders'
We went through weaknesses in your practice essays which need to be addressed in class.
Here are the slides I used:
Representation of Sexuality
Assessment Essay
I would now like you to produce a response to the question below using the extract from 'The Street' which you watched in class.
This would have to be completed in approximately 45 minutes in the exam but you may take more time than this.
You may watch the extract as many times as you wish.
Completed essays must be emailed to me by 8:30am onWednesday 18th January.
Remember to look back at the mark scheme to help you to understand what is being looked for.
Please complete the essay in Microsoft Word with a font size of 12.
My email address is philiphenton@kba.uk
Discuss the ways in which the extract constructs the representation of sexuality using the following:
- Use of the camera (framing, angle, movement, composition)
- Editing
- Sound
- Mise-en-scene
Exemplar Response
There are several representations of sexuality that are constructed in this extract.
The opening scene represents a stereotypically male workplace environment where audiences may not immediately expect to see themes of male homosexuality explored. The director deliberately constructs a series of representations through sound and mise-en-scene that, using Levi-Strauss’ theory of binary oppositions, would be in conflict with the next scene, shot entirely in a gay bar. In a building site hut we see exaggerated male stereotypes including hard hats, a gruff foreman paying wages in cash to the builders with a cigarette hanging out of his mouth and men with tattoos talking in working class northern accents. The camera pans from right to left to reveal the two central characters and the foreman framed in medium close up.
As the other builders walk out of frame two men are left in two shot with diegetic dialogue and facial expressions suggesting a friendship or an understanding. Charlie asks in low level mutters what the other man is doing later with narrative enigmas suggesting to an audience he is lacking confidence. This is reinforced by his body language as he looks down at the floor. The other younger man seems more confident which is revealed by his body language, pitch and tone of voice and dialogue as he invites Charlie for a pint but “on my terms”. This again suggests a prior friendship. Their sexuality is immediately anchored by the camera, which cuts to the next scene, a vibrant gay club that they are both attending. Before this abrupt transition we hear stereotypical non-diegetic high-energy gay club music. This music becomes diegetic as the shot cuts to the bar/club but is non-diegetic briefly to act as a sound bridge to enable audiences to fully understand both men are there.
The mise-en-scene of the gay bar swiftly establishes the preferred sexuality of the partygoers as the high energy music continues. We see low angle long shots and also extreme close ups of young semi naked male bodies dancing lit using low key lighting and flashing neon with close ups of men dancing together who are embracing and kissing. Fast paced editing is used to show the upbeat tempo of the club but also to intercut with the two protagonists as they meet at the bar. The younger man appears at the bar in close up. Again his body language more confident while a close up of Charlie sees him walking nervously through the crowd (anchored by his facial expression) with the camera cutting to the direction of his gaze as he looks around anxiously. The preferred reading of this particular scene is that the younger man is more comfortable with his sexuality while Charlie is not.
A high angle establishing shot shows the whole bar and dance floor while the rhythm of the editing parallels the diegetic music as Charlie begins to relax into his environment. Montage editing shows a series of shots of feet in low angle dancing, close ups of drinking pints, close ups of gyrating groin areas dancing and two shots of Charlie and the young man embracing. As Charlie moves away from the bar he is framed in slow motionemphasising his isolation surrounded by a large intense crowd of people. As the camera cuts to the club foyer area Charlie walks into the frame from right to left in long shot and moves into a toilet stall. Here he is shown about to urinate in high angle; the camera anglereinforces the vulnerable situation he is in as he begins to come to terms with his sexuality but also represents the vicious homophobic attack that takes place. A fast paced series of cuts using hand held camera shows extreme close ups of the attacker’s hands and head but also a close up of Charlie’s head as he is pushed against the toilet wall. Sound combines with the editing to reinforce the shock of the attack as we hear a violent thud but also homophobic dialogue from the attacker/thief. An extreme close up depicts the theft.
Slow motion is used again as Charlie returns to the bar blood dripping from a head wound. He is framed as vulnerable and as the victim of a homophobic attack as his friend shouts for the bar staff to call the police. Charlie’s lack of confidence with his own sexuality is suggested by his repeated requests for no police to be involved perhaps because he is either ashamed of his sexuality or that he has a family. The end of this particular scene has a number of negotiated readings but on the coach in the next scene he does question why he was singled out as the victim. This has implied connotations that the attack is linked in some way to his acceptance of his sexuality. The club scene cuts to a point of view shot from inside a coach looking out at greenery while travelling along a road and then pulls back to long shotinside the coach to reveal the passengers inside. In two shot (in medium close up) the two men are seen sitting together. The younger man tries to reassure and help Charlie who continues to question the previous night’s events. Charlie reinforces his traditional male stereotype by stating: “I’m a demolition man, I swing sledgehammers” while he refers to some of the men in the club as “tarts” creating a binary opposition between two different physical representations of masculinity.
(50 marks)
- Explanation/analysis/argument: Excellent understanding of the way that technical aspects are used to construct a representation. Clear, logical deconstruction of text linking directly to the question but also exploring some media theory.
- Use of examples: Sophisticated range of examples, with appropriate sequences analysed to reveal a representation. All areas of study have been exclusively covered as part of an intelligent, holistic examination of text.
- Use of terminology: Sophisticated use of media language and technical terminology.
- Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any errors of grammar, spelling and punctuation.
Representation Of Social Class and Status
What Is Social Class?
Social Class is a status hierarchy in which individuals and groups are classified on the basis of esteem and prestige acquired mainly through economic success and accumulation of wealth. Social class may also refer to any particular level in such a hierarchy.
Four common social classes informally recognized in many societies are:
(1) Upper class,
(2) Middle class,
(3) Working class, and
(4) Lower class.
There are stereotypes associated with each of these classes in our society.
If you conduct a simple Google Images search for each term you will see many of these.
Upper Class Stereotypes
Wealthy (money), 'posh accent', educated at private schools, tradition is important, demanding, 'hooray Henry', champagne, fox-hunting, out of touch, etc
Middle Class Stereotypes
Suburban living, home owners, 2.4 children (perfect family unit), play golf, professional jobs - suits, nice car, good job, etc
Working Class Stereotypes
'Salt of the earth', hard-working, not as well educated, 'common' accent, manual labour or poorer paid job, only wear smart clothes for special occasions, strong family values, single parent family, never been to university, etc
Lower Class Stereotypes
Poor, rude, dangerous, not educated, involved in criminal activity, 'scrounging', rely on benefits, teenage pregnancy, alcohol, swearing, 'chav', no respect for authority, etc.
Social Status
Status is different to class. Social Status is a person's standing or importance in relation to other people within a society.
It is possible to be from a working class background but to have a high social status through hard work. An example of this would be Sir Alan Sugar.
Click here to find out a bit more about how he moved from a boy from a working class background to a businessman with high social status.
If your extract asks you to discuss the ways in which representations of class and status are constructed in the extract, you should be thinking about the following things when watching the clip:
- Can I identify what class/status characters are?
- Are people from different classes or of different statuses shown as having different interests, personalities, attitudes, behaviours? If so, how?
- Is their class/status represented as being important in their life?
- Are people from particular classes/statuses represented as being better, more powerful, than others?
- Are people from particular classes/ statuses represented as being abnormal /weaker/ more pathetic than others?
- How do other characters in the clip treat the characters from different classes or of different statuses?
- What is the message the clip is trying to portray about class/status?
Extract from 'Downton Abbey"
Extract from 'Merlin'
Representation Of Regional Identity
Extract from 'Doc Martin'
- Use of the camera (framing, angle, movement, composition)
- Editing
- Sound
- Mise-en-scene
Representation Toolkit
You can access a useful document relating to stereotypes and countertypes by CLICKING HERE
The examiners always comment on students lack of focus on editing when analysing representation.
How Editing Can Affect Representation
The examiners always comment on students lack of focus on editing when analysing representation.
The notes below should help you to think about HOW editing can affect representation.
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.
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. Similar effects can be achieved with 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.
James Baker (OCR Assistant Principal Examiner G322) writes:
One approach to both sound and editing is to look at the way in which technical elements are used to create perspective or viewpoint within a sequence - a key element of the process of representation that goes beyond the identification of 'character traits'.
By understanding, for example, how screen time, p.o.v. or reaction shots are distributed, even weaker students can see how hierarchies are established, leading to certain representations being privileged where others are marginalised.
Stronger students are able to develop this further by discussing how the audience is positioned in relation to the representations on offer - the best answers in the June session of G322 offered some great discussion of the way in which editing frequently shifted the viewer's relationship to dominant views of gender in different scenes.
Another important factor is the way that the editing of the sequence grants or witholds narrative information from the audience in order to encourage identification or rejection of particular characters/representations.
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