In the diary of a call girl, the scene looked at was one of Belle (the call girl) and one of her customers (Blake) as they meet and greet. This isn’t just a normally customer as the scene shows the difficulties/challenges of Blake’s disabilities as he is wheelchair bound.
The first scene which starts in Belle’s apartment starts off with the meet and greet between the two as they encounter for the first time. This part of the scene there is no non- diegetic soundtrack throughout; only dialogue is used at this early stage. Smaller/quieter everyday sounds (ambient sound) within the clip are enhanced frequently, the first of which is the envelope being taken out of Blake’s bag. The rustles are heard quite loudly as to emphases the awkwardness of the event, plus remind us that this is a business proposition taking place.
The dialogue by all characters involved is normally very stuttered which develops the point that the scenario is of delicate matters and brings about awkward tension from all characters involved. When Belle goes to lock the door she hesitates and later decides not to lock it as she looks backs she sees the vulnerability of Blake, the reassurance that his father can come in at any time if needed appealing more to him than the thought of him not. Here again the sound of the door latch is escalated to emphases on the actions occurring. The scene is also punctuated with awkward silences. Throughout the scene the boys disability is constantly a factor of the episode, but this said it is has not been represented in a negative way, the character doesn’t ask for sympathy.
The soundtrack played from the radio is an upbeat classical tune, which is conflicting to the father’s mood as is shown by the fact he turns it off immediately. The father then fidgets whilst sitting in the car; small sound effects occur like the seat going back and the horn accidently being pressed shows the fathers anxiety.
Then the sound bridge brings back to the scene of Belle and Blake. The slow melodic music, opposite to the sensual music you would expect in the circumstance draws out all the excitement as you feel sorry for Blake.
Thursday, 29 September 2011
editing
In the diary of a call girl, the scene looked at was one of Belle (the call girl) and one of her customers (Blake) as they meet and greet. This isn’t just a normally customer as the scene shows the difficulties/challenges of Blake’s disabilities as he is wheelchair bound.
Throughout the first few seconds of the clip lots of transition shots take place also immediately one after another. This continuity editing may not be as noticeably to the untrained eye. These transition shots have a tendency to show all three characters back and fourth with emphasis on the father and son. This might be show the fact that Belle has to look up and down at both in an awkward manner. After belle has left the room to let the pair become comfortable two match-on-action shots occur, as Blake is taken out of his wheelchair and secondly as he is placed on the bed. The match-on-action shot is used to neutralise the effect that there has been a cut.
Whilst Blake’s father leaves there is a transition shot which leads to a medium close up of Blake on the bed. Here his vulnerability is shown at full force as he seems anxious as his dad moves closer to the door. As Belle locks the door an eyeline match shot is shown. This shot shows fragility of Blake’s confidence. Shot reverse-shot is then used during the conversation between Belle and Blake, after she offers him a drink to cut the tension from the situation.
A cross cutting shot then emerges as the scene of Blake’s father returning to the van is shown. Here is where the fathers anxiety comes into play and he tries passing time. Before he actually steps in the van there is an eye line match shot showing the room the father has just left his son in.
The last scene and part of the clip is back to the awkward pair in the apartment. As the clip ends lots of transition shots are shown, here also as Blake’s top is taken off the emphasis is on his fidgeting and once more his anxiety.
Throughout the first few seconds of the clip lots of transition shots take place also immediately one after another. This continuity editing may not be as noticeably to the untrained eye. These transition shots have a tendency to show all three characters back and fourth with emphasis on the father and son. This might be show the fact that Belle has to look up and down at both in an awkward manner. After belle has left the room to let the pair become comfortable two match-on-action shots occur, as Blake is taken out of his wheelchair and secondly as he is placed on the bed. The match-on-action shot is used to neutralise the effect that there has been a cut.
Whilst Blake’s father leaves there is a transition shot which leads to a medium close up of Blake on the bed. Here his vulnerability is shown at full force as he seems anxious as his dad moves closer to the door. As Belle locks the door an eyeline match shot is shown. This shot shows fragility of Blake’s confidence. Shot reverse-shot is then used during the conversation between Belle and Blake, after she offers him a drink to cut the tension from the situation.
A cross cutting shot then emerges as the scene of Blake’s father returning to the van is shown. Here is where the fathers anxiety comes into play and he tries passing time. Before he actually steps in the van there is an eye line match shot showing the room the father has just left his son in.
The last scene and part of the clip is back to the awkward pair in the apartment. As the clip ends lots of transition shots are shown, here also as Blake’s top is taken off the emphasis is on his fidgeting and once more his anxiety.
cinematography
The monarch of the glen clip starts with a very short dolly shot of the older men on the farm starting/finishing a hard day of work, with the hard labouring tools clearly in view.
The next shot turns into an over the shoulder shot as the girl (Amy) walks out into the court yard. This is also seen as an establishing shot as the camera pans left, showing all the immediate location. The medium long shot of Amy also gives up a clue of her age as she wears casual teenage clothing which the older characters even though of a different sex are at a contrary.
There is then a close up of Amy in the land rover. This shot shows the uncertainty in her ability to drive, and proves to the audience that she is either not old enough to drive, or not capable of driving. There then is a transition to a close up shot of the younger man. His face shows he is unsure of Amy’s truthfulness.
Off shot we then hear a car crash. Here features a high angle shot showing both the cars which collided. As Amy scatters towards the fatherly figure of the clip there a a few quick transitions firstly showing medium long shot of the old man then back to the group ( Amy, the young man, and the fatherly figure) then back to the older man but zoomed in as a medium close up. This shows the importance of the character/ the importance of what the character has to say at that moment. After the lies are out the camera zoomed in on Amy for her reaction which is of guilt.
As the two men walk into the mature wooden fitted room the camera slowly zooms whilst panning left ever so slightly. Just before the men leave there is an over the shoulder shot whilst more of Amy’s lies are revealed. Once the father figure returns to Amy there is a sequence of high and low angle shots to show where the power lies within the pair making look small, and projecting the status of the man.
There is then a sequence of random shots showing the workers hard at work. The non diegetic music playing sets the scene and could also be seen as thematic editing.
The shot is Amy’s room starts above the bed slowly tilting down to the gifts she has placed there. This shot not only shows she is in the process of running away but also shows an idea of age, by the magazines left on the bed (young teen mags), and the teddies she left. The camera then tilts up and pans right towards the mirror showing the photo’s Amy possesses and the sombre look on her face. The camera then starts off outside the window and tilts up to show the older woman in centre shot as she realises Amy has run away.
In the last scene in the clip there is an extreme long shot, showing the father figure being confronted about the job his workers are doing. This shot not only shows the body language of both the accuser and offender, but also the workers still carrying on none the wiser whilst setting the scene and letting the audience see the scenery. There is a shift transition into a two shot/ mid shot of the two men as the frustrated man speaks his dialogue. The is then a small dolly shot as the old woman tries to catch up to the father figure (Paul). As she informs him that Amy has run away there is another shoulder shot, which quickly leads into a close up of Paul to show his reaction.
The next shot turns into an over the shoulder shot as the girl (Amy) walks out into the court yard. This is also seen as an establishing shot as the camera pans left, showing all the immediate location. The medium long shot of Amy also gives up a clue of her age as she wears casual teenage clothing which the older characters even though of a different sex are at a contrary.
There is then a close up of Amy in the land rover. This shot shows the uncertainty in her ability to drive, and proves to the audience that she is either not old enough to drive, or not capable of driving. There then is a transition to a close up shot of the younger man. His face shows he is unsure of Amy’s truthfulness.
Off shot we then hear a car crash. Here features a high angle shot showing both the cars which collided. As Amy scatters towards the fatherly figure of the clip there a a few quick transitions firstly showing medium long shot of the old man then back to the group ( Amy, the young man, and the fatherly figure) then back to the older man but zoomed in as a medium close up. This shows the importance of the character/ the importance of what the character has to say at that moment. After the lies are out the camera zoomed in on Amy for her reaction which is of guilt.
As the two men walk into the mature wooden fitted room the camera slowly zooms whilst panning left ever so slightly. Just before the men leave there is an over the shoulder shot whilst more of Amy’s lies are revealed. Once the father figure returns to Amy there is a sequence of high and low angle shots to show where the power lies within the pair making look small, and projecting the status of the man.
There is then a sequence of random shots showing the workers hard at work. The non diegetic music playing sets the scene and could also be seen as thematic editing.
The shot is Amy’s room starts above the bed slowly tilting down to the gifts she has placed there. This shot not only shows she is in the process of running away but also shows an idea of age, by the magazines left on the bed (young teen mags), and the teddies she left. The camera then tilts up and pans right towards the mirror showing the photo’s Amy possesses and the sombre look on her face. The camera then starts off outside the window and tilts up to show the older woman in centre shot as she realises Amy has run away.
In the last scene in the clip there is an extreme long shot, showing the father figure being confronted about the job his workers are doing. This shot not only shows the body language of both the accuser and offender, but also the workers still carrying on none the wiser whilst setting the scene and letting the audience see the scenery. There is a shift transition into a two shot/ mid shot of the two men as the frustrated man speaks his dialogue. The is then a small dolly shot as the old woman tries to catch up to the father figure (Paul). As she informs him that Amy has run away there is another shoulder shot, which quickly leads into a close up of Paul to show his reaction.
Thursday, 22 September 2011
M.E.S the monarch of the glen.
The setting of the monarch of glen is in a secluded village, which due to the accents used in the TV drama is regionally north of england.The scenes from the clip shown takes place on a farm like premises, with the workers in the process of either building or taking down a project.
Nearly everybody in the scene shown is dressed in smart casual ware. With emphasis on the workers wearing builders protection. Also here is where the first representation of age is shown in the clothing worn.
The scene is highly light as it’s a dull day outside therefore it would be unnatural if all the characters were brightly light up.
The monarch of the glen constricts the representation of age in a number of ways, including clothing, body language, character behaviour and belongings. At first the age of the girl (Amy) is unknown until she starts the car. Here her body language and words mimicked to herself show her vulnerability and the fact that she lied to the question if she could drive could also be seen to show a sign of immaturity. Age is also (primarily) shown by the clothes worn by the characters. The younger girl wears casual hoodies while the father figure of the farm is shown in more mature clothing. Once the headmaster from Amy’s school comes into shot it is clearly shown he is even older by the dated clothing he chooses to wear. If age isn’t shown enough by clothing it is also shown in behaviour. Amy shouts “I HATE YOU!” making her out to be immature whilst the older man talks down to her as if she were his own child.
Lastly age is shown by the belongings which Amy owns. As she runs off the details of her room are shown. Showing both teddies and lots of pink accessories also the young teen mags she possesses.
Nearly everybody in the scene shown is dressed in smart casual ware. With emphasis on the workers wearing builders protection. Also here is where the first representation of age is shown in the clothing worn.
The scene is highly light as it’s a dull day outside therefore it would be unnatural if all the characters were brightly light up.
The monarch of the glen constricts the representation of age in a number of ways, including clothing, body language, character behaviour and belongings. At first the age of the girl (Amy) is unknown until she starts the car. Here her body language and words mimicked to herself show her vulnerability and the fact that she lied to the question if she could drive could also be seen to show a sign of immaturity. Age is also (primarily) shown by the clothes worn by the characters. The younger girl wears casual hoodies while the father figure of the farm is shown in more mature clothing. Once the headmaster from Amy’s school comes into shot it is clearly shown he is even older by the dated clothing he chooses to wear. If age isn’t shown enough by clothing it is also shown in behaviour. Amy shouts “I HATE YOU!” making her out to be immature whilst the older man talks down to her as if she were his own child.
Lastly age is shown by the belongings which Amy owns. As she runs off the details of her room are shown. Showing both teddies and lots of pink accessories also the young teen mags she possesses.
Thursday, 15 September 2011
Disability within British drama
TV Drama Representation of Disability
Within this clip, an ex military soldier who has returned from duty, most probably from an explosive has returned to home county expecting life to continue as normal. This isn’t the case as he realises his facial disabilities are an issue for most people.
Within the clip camera shots are normally zoomed, including lots of close ups and at some points extreme close-ups.
There are also two sides to the clip. At the beginning of the clip you can see the fact that the main character (Nick) tries to carry on as before he left for duty asking for his old job back. He then finds out his place has been taken and the over nice treatment of his boss maybe there to show he isn’t wanted back. After seeing a neighbour and friend in need and going to help, the woman (Dee) changes his thought of mind. She tries to defend her reasons for screaming at the sight of his face to no avail.
The change in mood is fully shown once speaking to the sergeant. Whereby he is angry at the world, primarily the army as he feels hard done by. When people think of disability they normally think of a physical disability and in the case of nick as it is “only” a facial disability he was told his life would resume as normal, which is never the case.
The Four concepts of media studies refers to; media language, representation, audience and institutions.
Media Language refers to the language used in media of which we will be tested on, by analysing the following.
· Cinematography (the camera shots used in the film clip)
· Editing (the transitions and changes in audio)
· Sound (the character them tunes and soundtracks used)
· Mise en scene (everything within the scene e.g. the location, props and extras)
After watching the clip we will then be expected to in detail explain the differences in the above categories, the reason they were chosen e.g. pan shots and if they work or not.
Representation refers to how a certain group of people are betrayed throughout the clip. This includes certain stereotypes normally given to people in categories such as,
· Age
· Gender
· Ethnicity.
· Sexuality
· Regional identity
· Ability/disability
· Class/ social status
After watching the short clip, we will have to identify and analyse the stereotypes which have been given e.g. young teenagers as hoodies, and people of different ethnicities mannerisms.
The last concepts are joined, Audiences and Institutions. This refers to not only the audience watching the movie, (if a movie is aimed a certain target group this will affect the viewers). e.g. if a movie is aimed at women the highest percentage of viewers is likely to be women. The institutions involved also play a part. This from the people who produce and make the film to the distributors and the people involved in exhibiting the films.
After watching the short film clip we will be tested on the knowledge of the relations between the people at the first stages of the movie all the way up to the viewing the movie.
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