Class and Status- Definitions

Social class (or simply "class"), as in a class society, is a set of concepts in the social sciences and political theory centered on models of social stratification in which people are grouped into a set of hierarchical social categories, the most common being the upper, middle, and lower classes. (Wikipedia)

Status- relative social or professional position; standing.

synonyms:

standing, rank, ranking, position, social position, station, level, footing, place;  repute, reputation, estimation, stature;  archaiccondition, degree, report

Representation Of Class & Status from Farida Pashi 愛

TV Drama - Class & Status from zlorhenley

Editing- A Breakdown

Editing and Representation
Editing is primarily related to narrative, so how does match-on action have anything to do with character or representation?   The role of editing in representation is open to interpretation and is greatly dependent on context.

Action Match
When following a single character, this is a purely technical device to hide the cut.   However, when an action match is used for intercutting, such as between two very different people, it can heighten parallels/ contrasts between two characters, offering an opportunity for juxtaposition


Eyeline Match
Eyeline match usually provides insight to a character's private thoughts

We see Leia looking at the stormtroopers and the stormtroopers noticing Leia

Final Shot
In any scene, see which character or characters are shown in the final shot of the sequence as this is often the character which the audience is expected to identify with


Intercutting: Juxtaposition
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning by highlighting a point of difference


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

See 1:51- 2:40. We cut between the tiger's pursuit of Cutter and Abby's running with the rifle in action code and prompts the question: will she get there in time?

Jump Cuts
There are rarely used in TV or film; when they are, they tend to suggest either a)chaos, b)self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules
SEE CLIP ABOVE
When Cutter prepares to slide down the zip-wire, we see jump cuts which could show both his hesitation and his speediness and decisiveness to zip wire down the line

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 speed ramping and slow-motion.

Prevalence
How much screen time does a character get? The more time we see them on the screen, the more important their role. This can develop during a scene to change character's status.

Selection
As film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit.

Shot/Reverse 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?


Reaction Shots


Assistant Principle Examiner Comments
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. Fans of 1970s screen theory will recognise the essence of Colin McCabe's work on hierarchy of discourses in classic realist texts in this approach - obviously massively watered down! There are good chapters on this in Television Culture (John Fiske) and Television Studies (Bernadette Casey) if you want to mug up.

Analysis of Gender in 2009 Doctor Who clip

In this clip, I will be looking at its construction as a whole and how it links in regards to how it represents gender.   Sound, Mise-en-scene, Editing and Cinematography have all been used by Davies to create a representation.

Our establishing shot is of the Master, in shallow focus so we can see only him in detail.   He is on one of the main lines according to the rule of thirds, and already we can see that he is a dominant character, a stereotypical alpha male, as he demands the attention of the audience.   Despite being out of focus, we can see the lift doors open and Martha, appearing very small in relation to the Master's head, stepping out.   She is only a small thing compared to the Master visually, further asserting his dominance.   This is a very stereotypical view of men and how they should act.

We appear to walk with Martha as she walks forwards, the camera moving in a tracking shot.   The "spaghetti western" non-diegetic music suggests an almost typical western stand-off idea between the two characters.   However, despite the inserts of her friends and family that have been edited in, Martha is shown ultimately to be alone and scared, almost in a little girl sense, as if she is going to get told off.   The camera is tilted down with her as she kneels and, as the audience, we seem to be more on her side as we go down to her level.   Her kneeling stance seems stereotypical. highlighting the dominance of men over women.   It is also reminiscent of an execution, which is what the Master wants it to be.   Once again, he is demonstrating his power, except this time over life and death.

The Master is further shown to be the dominant male as he is perceived from Martha's point-of-view at low angles.   We hear him call things and people "children" or "child", as if he is the only adult in the room.   To continue on with the sci-fi theme, we cut to shots of the Master's CGI rocket ships- edited and inserted in digitally after the filming had finished- as a voice over is heard.   We also see a VFX (video effects) shot of the Earth with hundreds of metal spheres, with a chilling robotic tone to their voices.   This continues the idea of him being the alpha male as we see a plan which we assume is too good to fail; however, since this is children's science fiction TV drama we would also assume that the "goodies" will prevail.   The Master is in full control.   The diegetic sound of the ticking clock is also indexical with the idea of villains, often counting down to some kind of bomb going off and also increasing the tension of the piece.

However, we suddenly have a close up of Martha's face, and her laugh seems to have been made louder in editing, so it is clearer that she is laughing at the Master.   The use of quick cuts in the shot reverse shot editing demonstrates a slight change in power.   Martha seems to be taking more of a dominant stand, which is uncommon as men are often portrayed as the more dominant characters, which we saw examples of during the clip.   Through the use of flashback, signified through the quick fade-outs to white, and the flashback scenes shown in black and white, sepia tones, as well as the sci-fi swoosh sounds, we can see Martha's strength and belief in what she is doing, especially with her realisation of her love for the Doctor, shown through a mid-section shot.   Although it could be argued that the love is more platonic, it is more stereotypical that the female friend will always fall in love with the male friend, so in this way Martha's strength despite the stereotypes of her gender is diminished slightly.   Martha has been given a messenger-like role, almost like a disciple to the idea of the Doctor as a saviour from the tyranny of the Master.   The symbolic disciple-like role is further highlighted through the slow-motion flashback that we see as Martha walks in the cold, her breath in the air, and the pained expression so obvious on her face.   The pain the audience see demonstrates the pain she goes through for her love ad her beliefs.   The fact that she is a woman does not change what she sets out to do, and demonstrates her in a stronger, more-empowered light, which is not particularly stereotypical.

We watch as the prayer-like muttering of the word "Doctor" becomes more intense as the soundtrack becomes ore orchestral and loud, in a huge crescendo.   We see lots of quick close-up shots as people say the word, including the woman in red.   We see her on the Master's side, and she is portrayed as a stereotypical trophy wife, to further highlight a stereotypically dominant idea of the Master.   She is dressed in beautiful clothes, has blonde hair and is dolled up in a bit of make-up.   This costume means we see her more through the "male gaze" than any other of the female characters.   She has been quiet for the whole clip, and her stereotypical submissive nature juxtaposes with Martha's strong, non-stereotypical characterisation.   The fact we hear her also saying the word, in a breathy voice especially to add to the idea of her being sultry and seductive, is used to highlight the strength of the Doctor over the Master.

With the visual effects of the white wave-like shield, the Doctor comes across in a Jesus-like way, as he seems to rise from the brink of death, much like Jesus did.   The white colour here seems to be used as a sign of good and purity, and by having risen up to the sound of his name, he appears to be a saviour figure.   The director chooses for the camera to tilt down, and our view is of the Master at more high angles, so that we look down on him with the Doctor.   This demonstrates a shift in the power dynamic.   The Doctor is now the dominant alpha male, and the Master is in the scared "little girl" stereotype that he put Martha in.   This is also added by his screaming "it's not fair" like a spoilt brat, usually portrayed as girls, after they have had a toy taken away from them.

Throughout the clip gender is represented in many different ways.   We originally see the Master as a dominant alpha male, but by the end he is presented as just a scared, little man.   In almost the opposite way we see the disciple Martha become stronger and more convicted as time goes on, juxtaposing with the Master's stereotypical trophy wife who stays submissive and quiet, until the end where she begins to chant Doctor.   We also see the rise of the Doctor as he becomes the dominant, alpha male, saviour character.

Synergy and Technological Convergence

Synergy and Technical Convergence:
Synergy is the strategy of synchronising and actively forging connections between directly related areas of entertainment.   New technologies support this process- web, DVD, downloading.   Media institution exploit various platforms to sell various products related to one film (e.g. film, soundtrack, video game etc.)

Convergence is the process by which a range of media platforms are integrated within a single piece of media technology.   Media institutions recognise that audience enjoy using converged technology, want to consume media in a variety of different ways and provide short form content for downloading e.g.video clips, trailers, music videos, jingles, wallpapers, music tracks etc.

Guardians of the Galaxy

• Toys- Action figures, Bobbleheads, Lego (Lego Marvel Superheroes Guardians of the Galaxy)
• Website- http://marvel.com/guardians (the official site for Marvel's Guardians of the Galaxy)
• Social Media- Although there is a Twitter, Facebook, Google +, Tumblr, YouTube and Pinterest for Marvel itself, there is no Guardians of the Galaxy specific accounts
• Video Game- Guardians of the Galaxy: The Universal Weapon is available on Android, iOS and Windows phones, but there is no physical game for any bigger devices.   The characters are also involved in lots of other Marvel based games but with characters from throughout the Marvel universe (http://marvel.com/news/video_games/22962/sdcc_2014_guardians_of_the_galaxy_in_marvel_games)
• Fast Food merch- Featured on Subway meals and merchandising
• High profile premiere- The red carpet event was held outside the Dolby Theatre at Hollywood and Highland.   Lots of new websites reported on it, such as thehollywoodreporter.   You could also watch the premiere from the Marvel website- http://marvel.com/guardianspremiere
• TV Appearances- Almost all of the main cast members were interviewed by someone at some point about the film, at premieres, panels and in TV interviews
• News Reports- There are hundreds of articles on Guardians of the Galaxy throughout the internet on hundreds of different news websites
• Other- the soundtrack was released with music that was not created for the film (Awesome Mix Vol. 1); you can buy t-shirts, lunchboxes, cups, posters, badges, phone cases and film replicas such as jackets and helmets

Kingsman: The Secret Service

• Toys- N/A
• Website- http://www.kingsmanmovie.com
• Social Media- Kingsman has a Twitter, Facebook, Google + and YouTube presence
• Video Game- There is a mini game on the website where you can become a kingsman knight and connect your phone to the game
• Fast Food merch- N/A
• High profile premiere- The premiere was held in Leicester Square outside the Odeon theatre.   Most publicity was focused on Colin Firth but all the main people in the film came
• TV Appearances- Almost all of the main cast members were interviewed by a variety of different people
• News Reports- Lots of websites reviewed the film and are now commenting on the sequel that is supposed to be appearing
• Other- Mr Porter released a Kingsman collection, selling ties, shirts, blazers and shoes  as well as other small accessories like umbrellas and socks; the soundtrack was also released

Gender analysis in 'Sherlock- A Scandal in Belgravia'

Scandal in Belgravia clip:


Analysis:

Gender is something that has become very prevalent in today’s society, with the majority of people asking how they can present their gender in either a traditional or non-traditional way.   This is something that media can help us with through its presentation of women and men in TV Dramas, which are used to present real-life people.   In the clip from the Sherlock episode A Scandal in Belgravia we show the power play between Irene Adler (played by Laura Pulver) and Sherlock Holmes (played by Benedict Cumberbatch), as well as a small amount of reaction from John Watson (played by Martin Freeman).   Through the use of camera, editing, sound and mise-en-scene, all carefully constructed by Stephen Moffat and Mark Gatiss, we can see how men and women are presented in different ways.

The clip begins with a long shot of the room.   The entire room is white and very elegant and feminine looking, with things looking extremely expensive which is unsurprising considering the scene is set in a nice house in modern day London.   For example, the chaise by the back of the room has a many-curved back, which can bring to mind more feminine ideas as women are often associated with curves.   The table legs, which we can see are closer to the front of shot, are also curved in a scroll-like way.   The mise-en-scene that we can see in the room could demonstrate that the owner of the house is a woman and also gives the impression of the owner being rich due to its semi-periodic feel.   Considering that the room is white, it could be said as a reflection of the owner’s innocence.   However, we would assume that the owner picked out the items themselves and therefore could be seen as more of a shifty character as they know that they are presenting themselves as the innocent character.   Sherlock is set out starkly against the white sofa, as he is dressed in mostly black.   This juxtaposes with the white setting, demonstrating that he does not belong in this environment.   We watch as he looks around.   Since the entire shot is in deep focus, we can see his eyes moving around but also see what he is looking at, which presents Sherlock as a man who enjoys poking his nose into things and being very suspicious- this is unsurprising since he is a detective.   The idea of men being nosey is not one that we stereotypically come across, and in today’s society is more associated with females, as they are seen as suspicious people who don’t ever trust their partners.   This could be highlighting that Sherlock is a more feminine character.

We hear a woman’s voice out-of-shot.   The way she speaks makes her seem very kind and caring- the fact that she is asking if the man has been hurt also suggests this.   We have not yet met this character but we could assume that is a kind and caring woman, which women are usually presented to be.   We watch as Sherlock visibly turns into the character he is pretending to be, leaning forward and placing the tissue he has back to his face, with a worried wobbly tone to his voice.   The shot cuts to a separate one- now in a mid-shot, from the other side so we can watch as Irene comes in the door.   This demonstrates how good of an actor Sherlock is, and adds to the idea of the more stereotypically feminine traits of sneakiness and playing pretend.   The fact that we get closer to him to watch this shows that these are the prominent traits of his character.

Just as we see Irene come through the door, and we notice that she is naked, we switch shot again.   It is an over-the- shoulder shot, except we can see more or Irene’s body- her arm and back.   However, her body is not in focus.   This whole sequence goes against the traditional “male-gaze” that we often see women through- we have not been shown any full-frontal nudity, and she is not in focus here.     We don’t see any breasts or genitalia at all throughout any of the clip- things are often artfully placed in front of her, such as Sherlock’s head in some shots.  This could highlight that Irene presents more masculine traits so we should look at her as more of a male character, or to show that women do not have to be objectified.   The fact that she has chosen to be naked shows a more empowered version of a woman, so the choice of cinematography techniques may be a reflection of that.   We also see her why she chose to do this later, when Sherlock is unable to notice anything about her, which would help him figure her out.   We recognise that he is trying to figure her out through the freeze frame on the close up of her face, and the visual effect of question marks appearing next to her.  Despite the fact that we don’t see a close-up of Sherlock’s face, this is definitely still a reaction shot as we watch how he reacts to Irene walking in naked.   However, the reaction we see from Sherlock seems to be more of surprise than lust, which once again adds to the idea that this clip seems to be defying gender norms in regards to how men and women are shown in TV Drama.   We later zoom in on him, and the use of non-diegetic music, which creates tension through it’s disjointed sound, seems to show him in a way as more curious than lustful, as if he is trying to figure her out.   The lens flares also highlight that Sherlock’s face is in shallow focus- we are made to focus on Sherlock’s reaction.

The choice of dark hair, smokey make-up and red lips all gives the impression of sensuality that usually accompanies the presentation of women, but also contrasts with the white of the room.   This implies that this is not a woman to be trusted, and links in to the idea of sneakiness and trickery being traits, which are associated with women, just as they are shown within Sherlock.   She has an extremely sensual sounding voice, since it lowers as she talks to him, suggesting bits about his appearance and acting very sexually.   This is a very stereotypical view of women being very sexual objects, except she seems to be playing it to her advantage- this is unusual as women are usually more portrayed in a sexual way than knowingly act in such a way.   As she stands over him, and the low angle shot over Sherlock’s shoulder seems to demonstrate him looking up at her, she seems to become all the more dominant, a trait typically associated with men.   However, Sherlock seems unfazed and due to the shots we see of him and his reactions in his replies, the two appear to be more equal.   This is also shown through the quick shot reverse shots that happen one after the other as we see both of their faces somewhat equally, and there seems to be some kind of visual par-de-par going on between them.   This also happens further on, when we cut to many different panning shots as the two look at each other, as if they are trying to figure each other out.

The entrance of John is of particular importance here in regards to gender, as we see the reaction of another man, to see if it fits in with the stereotypical male reaction.   However, once again, the reaction we receive is not a stereotypical one.   John seems very much shocked and embarrassed to find a naked woman in the room, rather than lustful.   The fact that he also doesn’t want to look at her naked body demonstrates a certain amount of respect that he is trying to maintain between himself and Irene, despite the fact they’ve never met.   However, the fact that he doesn't want to look, demonstrates a typical male response with the idea that he would like to look, he is just stopping himself.   The quick editing of the shots of Irene and Sherlock are interrupted by an insert of John replying to a question that he wasn’t asked, which seems to add a comic relief to the otherwise dramatic mood, as does his request for her to put something on.   In this sense, John seems almost submissive to Irene due to how uncomfortable he is- she has power over him.   This once again shows a break against norms.

This clip from Sherlock seems to break the social norms of what we assume we will see in a TV Drama according to gender.   From the beginning we see Sherlock as being more feminine, through his traits of disguise and trickery, which women are often stereotyped to be like.   We see the opposite in Irene, with more masculine traits seeming to appear in her, such as domination and also the fact that we treat her as a male character through the lens of the camera.   Sherlock and Irene appear to be equals, which demonstrates that the gender of the other person is not important to them.   John is also shown to be almost submissive to Irene in the way that he is nervous around her, which goes against normal stereotypes, and his respect for her is also a surprise too, purely as men are considered to be lustful creatures that wouldn’t even try to hide that they wanted to look, or would just go straight ahead and look.