“Discuss the ways in which the extract creates representations of gender and lifestyle.”
This extract of ‘Hollyoaks’ creates representations of gender and lifestyle by using a range of effective techniques such as camerawork, editing, sound and mise en scene. By combining these macro-techniques a subtle representation is created in the TV drama. The excerpt begins with a master shot of what appears to be a wake, this setting is created using mise en scene, for example, all characters shown in the frame are dressed smartly in black. In direct contrast to this, a girl is ‘river dancing’ suggesting a surprisingly upbeat nature of the atmosphere. The girl is further contrasted by her outfit, a slender black dress showing lots of skin and a bright red bra showing. She is presented as a main character as the camerawork suggests, she is in the centre of the frame with spaces to either side. The congregation of the wake appear to be a traditional Irish family; we assume this because of the mise en scene and also the sound of Irish pipes being played. This stereotype is presented blatantly to make the audience instantly aware of the family’s culture. The audience is then presented with a two-shot of characters in dialogue; the focus at this point is on them, rather than the dancing legs in the foreground. This signifies their importance in the scene and their detachment from the other characters.
The ambience of mumbled conversations is withdrawn as the character of ‘Chris’ enters the room; this evokes immediate emphasis to the character. Before a shot of ‘Chris’ is shown; a series of reaction shots are presented, with family members gasping in shock. This creates enigma as we do not yet know of the characters arrival. Mise en scene techniques are used to full effect as ‘Chris’ enters dressed in an all white dress in direct contrast with the black attire worn by everyone else in the frame. A long shot of the room is presented with ‘Chris’ positioned in the middle of the frame with the former main character in the background. This highlights his dominance in the situation and his importance to the narrative. This long shot also presents the audience with a view of the direct contrast ‘Chris’ and the congregation possess because of the striking white dress among the black suits. This creates an instant representation of a cross dresser, displaying his femininity with great impact, this immediate emphasis on the character is created by using all four macro-techniques. Chris is also dressed in knee-high red leather boots, the colour of the boots suggest connotations of danger and passion. This relates very powerfully to the character and the lifestyle he chooses. The cut speed at this point is increased, to build tension in the scene whilst a master shot of ‘Chris’ is returned to after close-ups of other characters reactions to his arrival. The shock displayed by the congregation is obvious as the sound of a vase smashing is all that can be heard above the deathly silence. Although the character of ‘Chris’ Mum’ is talking; the camera still focus’ on ‘Chris’, this signifies his importance above all other characters in the frame and the attention the character demands. The shots used in this scene are mainly close-ups to show the supporting characters disgust and disbelief.
An effective sound bridge of music is used to connect this scene to the next, in which we are presented with a medium shot of ‘Mercedes’. A desaturated camera effect is used to signify a flash back, in which ‘Mercedes’ remembers the time spent with character ‘Malaky’. The flashback is instantly noticeable because of the camera effect and the use of black and white signifies the difference in time. A synchronous soundtrack is used to coincide with the feelings of nostalgia possessed by the character. The content of the flashbacks features both characters rolling around on a bed; this suggests that the subjects lead care free lifestyles where there were no previous consequences. A transition of a fade is used to link the flashback to a pondering ‘Mercedes’ this gives the impression of regret and want of a past time.The four techniques of camerawork, editing, sound and mise en scene create representation by fine details, the importance of the techniques are to not be obvious, and to go undetected by the audience whilst still impacting the narrative of the TV drama.
Tuesday, 9 December 2008
Thursday, 30 October 2008
Deconstruction of Hollyoaks: Camerwork, Editing And Sound.
http://uk.youtube.com/watch?v=PFGs-KgunVw
This excerpt of popular TV drama 'Hollyoaks' begins with a series of shot-reverse shots, depicting close-ups of each face to demonstrate the terror each character feels. Whilst the editing at this point is fairly slow, a sense of momentum is still built by the way in which the frames are arranged. A dramatic background score adds to the already tense atmosphere of the opening clip. The audience is then presented with a number of two-shots to emphasize the unity of the characters involved; where as 'Niall' the villain of the drama is shot alone, perhaps indicating the independence of his actions. With little ambience in this scene, only the whimpering of endangered characters can be heard to emphasize the isolation of the situation.
The audience is next presented with a cut away shot of 'Tony' and 'Dom' running, as they approach the abandoned building. The contrast in ambience is clear; as sounds of birds and trees rustling reflect the on looking characters. The speed of editing is gradually increased at this point to create a building of tension. An over the shoulder shot of 'Niall' gives the audience a sense of involvement as the villain looks directly into the camera lens. To further emphasize the tension and pace of the scene, the orchestral background score is made louder as the action takes place.
As the characters of 'Jack' and 'Darren' burst into the building, an amplified sound of smashing glass is produced to emphasize the impact of the characters rescue attempt. A passage of frantic editing preludes the close up of a flashing detonator to increase the intensity of the action, the sound of shouting and screaming drown out any ambient noise at this moment. A match on action shot follows as the audience sees the immediate effect of the explosion; the explosion is shot a number of times from different angles to demonstrate different perspectives of all characters involved.
This excerpt of popular TV drama 'Hollyoaks' begins with a series of shot-reverse shots, depicting close-ups of each face to demonstrate the terror each character feels. Whilst the editing at this point is fairly slow, a sense of momentum is still built by the way in which the frames are arranged. A dramatic background score adds to the already tense atmosphere of the opening clip. The audience is then presented with a number of two-shots to emphasize the unity of the characters involved; where as 'Niall' the villain of the drama is shot alone, perhaps indicating the independence of his actions. With little ambience in this scene, only the whimpering of endangered characters can be heard to emphasize the isolation of the situation.
The audience is next presented with a cut away shot of 'Tony' and 'Dom' running, as they approach the abandoned building. The contrast in ambience is clear; as sounds of birds and trees rustling reflect the on looking characters. The speed of editing is gradually increased at this point to create a building of tension. An over the shoulder shot of 'Niall' gives the audience a sense of involvement as the villain looks directly into the camera lens. To further emphasize the tension and pace of the scene, the orchestral background score is made louder as the action takes place.
As the characters of 'Jack' and 'Darren' burst into the building, an amplified sound of smashing glass is produced to emphasize the impact of the characters rescue attempt. A passage of frantic editing preludes the close up of a flashing detonator to increase the intensity of the action, the sound of shouting and screaming drown out any ambient noise at this moment. A match on action shot follows as the audience sees the immediate effect of the explosion; the explosion is shot a number of times from different angles to demonstrate different perspectives of all characters involved.
Tuesday, 21 October 2008
Sound And Music: Hollyoaks
How is sound and music used to effect in this excerpt of 'Hollyoaks'?
In this short excerpt of 'Hollyoaks', a number of sound and music techniques are executed to dictate pace and emphasize the mood of the scene. The initial digetic sounds of leaves rustling and water splashing are amplified to give greater effect to the sense of danger surrounding the forest. The sense of fear and danger are further emphasized by the amplifying of dialogue, as 'Max' shouts out for his younger brother 'Tom'. The technique of digetic sound increases the tension of the excerpt and builds subtle momentum to the scenes pace.
As the character of 'Max' dives into the water an amplified splash is heard before the ambience is cut to purely the bubbling sounds of underwater. This technique is the equivalent of a 'Point of View' shot, it places the audience in the position of the troubled character and alarms viewers as the peaceful ambience is diverted to a frantic atmosphere.
Non-digetic sounds such as trumpets are also used to good effect in this excerpt, for example after each dangerous revelation the short, sharp sound of strings and trumpets. This use of irregular sounds alarms the audience of the immediate threat facing 'Max'. Momentum is further built, as the non-digetic sounds increase in pace and noise, this factor creates a tension build up that would not of been possible without these added effects.
The matter of the sound and music being synchronous throughout, is absolutely necessary to maintain the atmosphere of the excerpt, a brief irregular moment of sound would spoil the entire mood of the scene. Whilst 'Max' battles to stay a float the music remains at a fast tempo and mood, but as the character appears to give up trying the ambience is cut once again leaving a slow calming score to replace it. Sound motifs are also used to great effect in this scene, as every time the character of 'Claire' is presented, a harrowing score of low pitched strings proceed. This sound motif establishes the representation of 'Claire' as a villain, with no prior knowledge of the character the motif allows the audience to assume a negative portrayal.
In this short excerpt of 'Hollyoaks', a number of sound and music techniques are executed to dictate pace and emphasize the mood of the scene. The initial digetic sounds of leaves rustling and water splashing are amplified to give greater effect to the sense of danger surrounding the forest. The sense of fear and danger are further emphasized by the amplifying of dialogue, as 'Max' shouts out for his younger brother 'Tom'. The technique of digetic sound increases the tension of the excerpt and builds subtle momentum to the scenes pace.
As the character of 'Max' dives into the water an amplified splash is heard before the ambience is cut to purely the bubbling sounds of underwater. This technique is the equivalent of a 'Point of View' shot, it places the audience in the position of the troubled character and alarms viewers as the peaceful ambience is diverted to a frantic atmosphere.
Non-digetic sounds such as trumpets are also used to good effect in this excerpt, for example after each dangerous revelation the short, sharp sound of strings and trumpets. This use of irregular sounds alarms the audience of the immediate threat facing 'Max'. Momentum is further built, as the non-digetic sounds increase in pace and noise, this factor creates a tension build up that would not of been possible without these added effects.
The matter of the sound and music being synchronous throughout, is absolutely necessary to maintain the atmosphere of the excerpt, a brief irregular moment of sound would spoil the entire mood of the scene. Whilst 'Max' battles to stay a float the music remains at a fast tempo and mood, but as the character appears to give up trying the ambience is cut once again leaving a slow calming score to replace it. Sound motifs are also used to great effect in this scene, as every time the character of 'Claire' is presented, a harrowing score of low pitched strings proceed. This sound motif establishes the representation of 'Claire' as a villain, with no prior knowledge of the character the motif allows the audience to assume a negative portrayal.
Sunday, 12 October 2008
Cant Remember The Question, So, Yeah!
.In this short excerpt of ‘Shameless’ camerawork and editing is used to dictate pace, narrative and mood. The clip begins with a long establishing shot of ‘Frank’ stumbling away from the viewpoint. The next series of shots are cut between the master shot of ‘Frank’ and a point of view shot from the inside of a car, the use of this shot gives the audience a sense of involvement by putting them in a characters position.
The tempo of the excerpt is increased as the danger becomes clear by using frantic cutting, with a number of different shots in a small space of time. Match on action is used as the car crashes; the continuity of the impact is achieved by using a series of different angles. Also the immediate effect of the crash is emphasized further by the speed of editing; its frantic pace dictates the dangerous mood of the scene. During the fight scene between 'Lip' and 'Frank' handheld cameras are used to demonstrate the unrestrained nature of the violence.
The audience is then presented with a cut away shot to 'Karen' pacing up and down a room, a fish-eye lens is used in the shot to show the delusion and panic the character feels. The next frame is an effective match on action shot of 'Sheila' slamming a door shut on impact of 'Frank' being punched, this parallel narrative shows that the actions 'Lip' has an effect on other characters also. The scene ends with a zoom to wide fade of 'Frank' lying bloody and beaten.
The final scene of the expert begins with a reverse zoom of 'Sheila' tending to 'Franks' wounds, the editing from this point on returns to a steady pace, to emphasize that the immediate danger has passed. The audience is then presented with a cut away close up of 'Karen' looking on with regret and guilt. As 'Frank' recites his tale of woe an eye-line match shot of the character looking at 'Karen' suggests that he may not deserve the sympathy he deserves
The tempo of the excerpt is increased as the danger becomes clear by using frantic cutting, with a number of different shots in a small space of time. Match on action is used as the car crashes; the continuity of the impact is achieved by using a series of different angles. Also the immediate effect of the crash is emphasized further by the speed of editing; its frantic pace dictates the dangerous mood of the scene. During the fight scene between 'Lip' and 'Frank' handheld cameras are used to demonstrate the unrestrained nature of the violence.
The audience is then presented with a cut away shot to 'Karen' pacing up and down a room, a fish-eye lens is used in the shot to show the delusion and panic the character feels. The next frame is an effective match on action shot of 'Sheila' slamming a door shut on impact of 'Frank' being punched, this parallel narrative shows that the actions 'Lip' has an effect on other characters also. The scene ends with a zoom to wide fade of 'Frank' lying bloody and beaten.
The final scene of the expert begins with a reverse zoom of 'Sheila' tending to 'Franks' wounds, the editing from this point on returns to a steady pace, to emphasize that the immediate danger has passed. The audience is then presented with a cut away close up of 'Karen' looking on with regret and guilt. As 'Frank' recites his tale of woe an eye-line match shot of the character looking at 'Karen' suggests that he may not deserve the sympathy he deserves
Tuesday, 30 September 2008
Camerwork In Heroes
How is camerawork used in 'Heroes'?
The excerpt begins with a focus pull shot of 'Ermmm' waking up in a fuzzy daze; this is expresse
d by the use of the camera switching focus from foreground to back. As the character stumbles and turns the camera imitates the movements giving the audience a sense of shared dizziness and delusion. The next shot is a camera tilting up and down as the character attempts to regain vision, the camera then slowly zooms into a painting of a girl. Once the artwork has filled the frame the shot fades into the actual character, this clever camerawork links the two scenes together with a stylish transition.
After a short dialogue between two characters; a long range shot is presented, establishing the setting and the fact that they are the only two characters involved in the scene. The first shot of the car is a close up of the cheerleaders hand on the gear stick, this initially establishes that the character is in control of both the car and the situation. The several shots presented in this scene are edited together with speed and fury, this demonstrates the speed of the car and the frantic mindset the cheerleader possesses. The next frame shows a two-shot of both the characters profiles with the cheerleader in the foreground, this further emphasizes her control and power of the scene.
Further references to speed are indicated in the following shots, as several close ups of the gear stick, speed gage and spinning wheel to establish the theme of the scene. The final frame of the scene features the intensity rising as the car plunges into a brick wall, a series of short sharp camera cuts are shown during the action to display the danger, the camerawork switches from a profile shot of the characters to a frame of the back of the car, imitating the jaunting movement of whiplash.
The excerpt begins with a focus pull shot of 'Ermmm' waking up in a fuzzy daze; this is expresse
d by the use of the camera switching focus from foreground to back. As the character stumbles and turns the camera imitates the movements giving the audience a sense of shared dizziness and delusion. The next shot is a camera tilting up and down as the character attempts to regain vision, the camera then slowly zooms into a painting of a girl. Once the artwork has filled the frame the shot fades into the actual character, this clever camerawork links the two scenes together with a stylish transition.
After a short dialogue between two characters; a long range shot is presented, establishing the setting and the fact that they are the only two characters involved in the scene. The first shot of the car is a close up of the cheerleaders hand on the gear stick, this initially establishes that the character is in control of both the car and the situation. The several shots presented in this scene are edited together with speed and fury, this demonstrates the speed of the car and the frantic mindset the cheerleader possesses. The next frame shows a two-shot of both the characters profiles with the cheerleader in the foreground, this further emphasizes her control and power of the scene.
Further references to speed are indicated in the following shots, as several close ups of the gear stick, speed gage and spinning wheel to establish the theme of the scene. The final frame of the scene features the intensity rising as the car plunges into a brick wall, a series of short sharp camera cuts are shown during the action to display the danger, the camerawork switches from a profile shot of the characters to a frame of the back of the car, imitating the jaunting movement of whiplash.
Tuesday, 23 September 2008
Hollyoaks Deconstruction
The soap opera 'Hollyoaks' uses a number of techniques such as camerawork, editing and mise en scene to create the desired product for the target audience. 'Hollyoaks' uses a series of two-shot camera angles to present dialouge between a number of characters, this effective technique clearly displays both the actors whilst still giving the nessessary emphasis to the characters reactions.
The editing in 'Hollyoaks' is frantic and sharp, this effective technique gives momentum and pace to a scene which may lack stimulating content. Using this technique means an episode can contain a number of different narratives in quick sucsession.
The TV drama also uses current and popular music in a number of scenes, this gives the program a sense of modern time. During the frames taking place in a public place a soundtrack of ambience is used to create an atmosphere of realism. Although this background noise is in place, the main characters in the foreground of the scene can always be heard over the talking of passers by.
'Hollyoaks' mainly uses high key lighting to present an image of excitement and youth, this choice of mise en scene aids the targetting of the audience. Although in some scenes, a use of low key lighting is used to present a more negative potrail of the characters, this technique is used in scenes where difficult issues such as depression are being expressed.
The editing in 'Hollyoaks' is frantic and sharp, this effective technique gives momentum and pace to a scene which may lack stimulating content. Using this technique means an episode can contain a number of different narratives in quick sucsession.
The TV drama also uses current and popular music in a number of scenes, this gives the program a sense of modern time. During the frames taking place in a public place a soundtrack of ambience is used to create an atmosphere of realism. Although this background noise is in place, the main characters in the foreground of the scene can always be heard over the talking of passers by.
'Hollyoaks' mainly uses high key lighting to present an image of excitement and youth, this choice of mise en scene aids the targetting of the audience. Although in some scenes, a use of low key lighting is used to present a more negative potrail of the characters, this technique is used in scenes where difficult issues such as depression are being expressed.
Camerwork In Shameless
How is camerawork used in this excerpt of 'Shameless'?
In the short excerpt of 'Shameless' camerawork is used to create and display a number of emotions and events. The viewer is first presented with a deep set focus shot of 'Marty' in the foreground with a blurred image of 'Fiona' and 'Steve' behind, This choice of shot indicates that the emphasis of the scene is on 'Marty' and that he will be the main character for the following events. The camera then cuts to a medium two shot frame of 'Fiona' and 'Steve' in dialogue, the choice of the camerawork is to show the intensity of the conversation. The importance of the next frame is clear, as we see a high angle shot of 'Marty' sat alone in an empty living room. The low key lighting in the shot indicates the isolation and depression of the character.
The audience is then presented with a tracking shot of the car approaching the house, the following of the car by the camera indicates the significance of the characters inside. A brief establishing shot is then shown to reiterate the location of the events. The next scene features a static shot of 'Marty' running towards the door and out to the street, the use of the static camera gives the audience a greater sense of speed, as the character flashes passed the lens. As the camera tracks back to view 'Marty' walking towards the car, the frame tilts downwards to reveal the lighter in the characters hand, this signifies the importance of the object and how it will affect the scene.
A series of two shots follow the proceedings as 'Marty' threatens the other two characters, although the camera is frantically jumping from shot to shot the lighter is always in full view, often in the centre of the frame. This attention to detail emphasizes the danger and threat the object poses. We are then presented with a number of master shots, in which all the characters and surroundings can be seen, this shot type is important to establishing the location, characters and action.
In the short excerpt of 'Shameless' camerawork is used to create and display a number of emotions and events. The viewer is first presented with a deep set focus shot of 'Marty' in the foreground with a blurred image of 'Fiona' and 'Steve' behind, This choice of shot indicates that the emphasis of the scene is on 'Marty' and that he will be the main character for the following events. The camera then cuts to a medium two shot frame of 'Fiona' and 'Steve' in dialogue, the choice of the camerawork is to show the intensity of the conversation. The importance of the next frame is clear, as we see a high angle shot of 'Marty' sat alone in an empty living room. The low key lighting in the shot indicates the isolation and depression of the character.
The audience is then presented with a tracking shot of the car approaching the house, the following of the car by the camera indicates the significance of the characters inside. A brief establishing shot is then shown to reiterate the location of the events. The next scene features a static shot of 'Marty' running towards the door and out to the street, the use of the static camera gives the audience a greater sense of speed, as the character flashes passed the lens. As the camera tracks back to view 'Marty' walking towards the car, the frame tilts downwards to reveal the lighter in the characters hand, this signifies the importance of the object and how it will affect the scene.
A series of two shots follow the proceedings as 'Marty' threatens the other two characters, although the camera is frantically jumping from shot to shot the lighter is always in full view, often in the centre of the frame. This attention to detail emphasizes the danger and threat the object poses. We are then presented with a number of master shots, in which all the characters and surroundings can be seen, this shot type is important to establishing the location, characters and action.
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