Thursday, 20 October 2016

Sexuality

Theorist ANDY MEDHURST (1998) claims that sexuality disrupt representation claims, like those made by Dyer (“How we are seen determines in part how we are treated; how we treat others on how we see them; such seeing comes from representation” Dyer, 1993), because in the REAL world you cannot ‘see’ sexuality. Unless someone tells you they are homosexual you have no way of knowing.

In the media, stereotypes are used to explore ideological positions about sexuality. “Films and television comedies are full of images of gay men as effeminate screaming queens…It chooses that aspect of gay male behaviour (SELECTION), inflates it into the defining male characteristic of male homosexuality (MAGNIFICATION), then establish it as the most easily recognizable image (REDUCTION).”

Medhurst argued this is done to make heterosexual viewers feel safe in the believe that there way of living is the only ‘natural one’. So, stereotyping for the ‘straight’ viewer makes them feel safe and superior. In addition, the embedded social norm of straight sexuality is reinforced.

“This is why stereotypes of sexuality strive so vigorously to create two, polarized sexualities, hetro and straight, and to insist with such obsessive reductiveness that people who belong to those poles are easily identifiable – hence the recurring presence across media texts of the screaming queen and his female equivalent the butch dyke.


In the clip of EastEnders, Medhursts theory on sexuality is both  


Tuesday, 18 October 2016

Gender Essay Practise

How is gender portrayed in the extract of Hustle through:
Camera work
Mise-en-scene
Sound
& Editing?
Theory
Link to Question (gender)

In the extract of Hustle the theories of Mulvey (1975), Mackillon (2002) and Gauntlett (2002) are both supported and disrupted through the media language present in the clip. I will now explore this in more detail with reference to how; camera work, mise-en-scene, sound and editing contribute to constructions of gender representation.

The opening shot is a low angle medium close up of a middle aged male wearing an expensive suit. The camera angle gives him masculine status as it makes him powerful which could fit Gauntlett’s 2002 theory however, the way he is standing is not a masculine pose which means his character also fits Mackillon’s theory as he is looking more feminine. In the background there is a younger female character shown coming up the stairs to the clothing shop, the positioning seems to support traditional gender roles as she appears lower down, and therefore less important, than the lead male character. The opening scene is accompanied by non-diegetic music that changes when the women comes into shot, it is quite feminine and it contributes to sexualising the female character in a way that fits Mulvey’s 1975 theory. Furthermore, it contributes to de-masculinising the male character to a point where he almost appears camp, which also fits with the dress shop setting and his job. The shots are linked together with a sound bridge and continuity editing is used to not distract the viewer.


As the scene continues the shot progresses to a high-angle close-up of the male lead and a secondary female character, this shot also poses as a medium shot for the younger female character, which has been posed in a sexualised manner. The high-angle serves to embolden the male leads dominance over the situation, which supports Gauntlett’s 2002 theory, and simultaneously make the secondary female character seem more timid. The secondary female character disrupts Mulvey’s 1975 theory as she is shown as a much more modest character, in appearance, by wearing a long, red raincoat which juxtaposes from the other two characters rich appearances. This scene also has the non-diegetic music from before yet it slows in pace to accommodate for the secondary female character as she breaks Mulvey’s theory which was somewhat supported by the music and so to show that break, the music changes. Diegetic dialogue is also present in the scene which serves to advance the story but also shows to support Gauntlett’s theory as the male lead continues to be dominant in the scene by speaking in very short sentences that make the secondary female character appear inferior in status.

Thursday, 13 October 2016

Gender Theories

How is gender portrayed in the extract of Hustle through:

  • Camera Work
  • Sound
  • Editing
  • Mise-en-Scene


Laura Mulvey 1975

"As erotic objects of desire for the characters within the story, and as erotic objects of desire for the spectator." (Mulvey, 1975)




David Gauntlett 2002
"Images of the conventionally rugged, super-independent, extra-strong, macho man, still circulate in popular culture," (Gauntlett 2002)




Mackillon 2002
In 2002, Macmillan said males are now used in the similar way as women, in so far as they are being presented as sex objects and are shown as more image conscious and sensitive. (Mackillon 2002)




Stereotypes

Men
  • Heroic
  • Attractive
  • Strong
  • Dumb
  • Violent
  • Brave
  • Powerful
  • Muscles
Women
  • Powerless
  • Over-Sexualised
  • 'Kitchen'
  • Weak
  • Skinny
  • Victim
  • Emotional

Thursday, 6 October 2016

Sound

Diegetic Sound and Non-Diegetic Sound

Diegetic sound is 'realistic sound' where the source is visible on screen or where the source is implied to be present in the action even if the sound source is out of shot (e.g. a door slamming in another room or sirens in the distance) common examples of diegetic sound include: 
- Dialogue (characters voices)
- Sounds made by objects 
- music coming from instruments shown on screen
- ambient sound (background noise that would be present)

N.B. this links to what we discussed last week in terms of TV Drama's needing to create a realistic believable 'diegetic' world for the viewer - sound is part of the verisimilitude.

Non-diegetic sound is sound where the source is not present in the action nor looks like it is meant to be; common examples include:
- Mood music
- Dramatic sound effects that do not match the sound anything on screen would make.
- Narrators commentary.

Sound Terminology
Inside these two categories there are a number of specific terms for different types of sounds that you must be able to use in the examination when you analysis, make note on and write about the extract in terms of representation they are as follows:

Non-diegetic
Title music: theme tunes (connote genre/represent TV drama).
Score/incidental music: orchestral music used to connote tone/atmosphere.
Sound motifs: sounds associated with certain character (often a villain like the shark in Jaws) that connote something good/bad is about to happen.
Sound effects: used to connote atmosphere.
Voice over: often used to give the viewer an insight into the thoughts of a character (creating a bond between the audience and character), set the scene or progress the narrative.  

Diegetic
Synchronous sound: sounds that match what you see on screen.
Sound effects: realistic sounds that match the action on screen creating realism and/or connoting atmosphere e.g. gun shots, door opening/closing.
Dialogue: characters speaking (dialogue progresses the narrative and reveals the character's personality/views to the viewer). 
Ambient sound: natural background noise you would hear if the scene on screen were real - this is vital when creating realism. 

Editing

Continuity Editing:
           Where an action is continued through multiple shots.
https://www.youtube.com/watch?v=Pu9NQCfurDY
Parallel Editing:  
           Shows two shots that occur in the same time frame, at the same time.
https://www.youtube.com/watch?v=Ts1x6uADFtM
Cross Cutting:
        Where on shot cuts to another, usually implies the two are in the same time frame.
https://www.youtube.com/watch?v=QuRBZNECaFU
Eye-Line Match:
           Where the camera shows an actor looking off-screen and then reveals what they             were looking at.
https://www.youtube.com/watch?v=N6p7HJZkl4k
Match-Cut:
           Where two shots blend by showing  similar or the same action in two different shots.
           Also a type of Continuity Editing.
https://www.youtube.com/watch?v=DCmwPeEGjtE
Graphic Match:
           Two shots of similar objects, visually, that blend together to show representation.
https://www.youtube.com/watch?v=mI3s5fA7Zhk
Shot Reverse Shot:
       Common in conversations, similar to Eye-Line Match, shows an actor speaking in
           one direction and then shows another speaking in the opposite direction.
https://youtu.be/h0xiCIMIwLY?t=1m21s
Slow Motion:
       Where a shot is slowed down to make it clearer to the audience what is happening.
https://youtu.be/tfLB7OZNGAQ?t=1m55s
Fast Motion:
       Where a shot is sped up to show an action that may be deemed important yet boring.
https://www.youtube.com/watch?v=nKG0V67eGFc
Fade To Black/Fade From Black:
       A common transition that shows a change in scene, setting, or time passing.
https://www.youtube.com/watch?v=F0_2ZFdB6Hk

CGI:
       Computer Generated Images are used commonly in Sci-Fi and can be anything from
           a prop, to a character, to a location. It simply made on a computer as opposed to
           having to be filmed.
https://www.youtube.com/watch?v=PgixhKfH1w4
Sound Bridge:
       Where sound from one scene continues to another.
https://www.youtube.com/watch?v=e6reTz6rV0A
https://youtu.be/oIkpD2Nr5yI
Long Take:
       A scene that was filmed in one go. There would be no cuts or edits.
https://www.youtube.com/watch?v=hN5-a3zqqCc
Iris In/Iris Out:
       The gradual appearance of something through an expanding circle / vice versa.
https://youtu.be/IqDhAW3TDR8?t=1m28s
Movement Match:
       Somewhat common with Long Takes, where an object is tracked and then another
           object, moving at the same speed, is then made the centre of focus.
https://www.youtube.com/watch?v=ZyNbqOgH87g
Jump Cuts:
       Where multiple scenes and shots are put together without a transition.
https://www.youtube.com/watch?v=-guVyvdc4FU