Apologies in advance, this will have a lot of information to it BUT can be easily broken down into three sections; Representation Codes, Core Technical Elements, and Representation Practice which is a link to a Doctor Who episode on our class Google Drive (for you to practise your representation analyses on).
Representation Codes:
- Gender groupings
- Working class
- Education
- Business & Ethics
- Government / Authority
- Social pressure / expectations
- Drinking / drugs
- Lifestyles / Living conditions
- Relationship “norms” (sexuality, longevity, ‘progress’)
- Ethnicity
- Disability
- Religion
- Regional identity (including place)
- Violence (domestic, school or war)
- Freedom & Oppression / Bondage
Core Technical Elements:
In the syllabus, the four key technical elements are written up as-
- Camera shots, angle, movement and composition
- Editing
- Sound
- Mise-en-scene
These are the Media Studies equivalent to language features from English Literature, such as enjambment, alliteration, or unusual syntax.
Each of these denotes representation in their own unique fashion. Below are a few examples.
Camera-
- Establishing shot tells us where we are. In itself, this is largely a plot device yet telling the audience where we are helps us form certain judgements about social class and status based on location and living conditions. Did we see kids with no shoes playing in the street with a stick and a rock, or was there a Rolls Royce floating past a white picket fence? (Really this is combining Camera with Mise-en-Scene)
- Close-up shot usually shows us that whatever is going on in that moment is important to that particular character. We are symbolically closer to them, to their feelings and values. Extreme close-ups (ECUs) are at the absolute heart of the character; we can go no further in approaching who they are, what they feel and what is important to them.
- High angle is when the camera is higher than the subject it is filming. This often makes the subject appear small, powerless, at-risk, etc. Low angle shots are the polar reverse, usually indicating power, victory / triumph, etc. Variations on this include what is known as the “dutch tilt” - often a high canted angle shot, indicating the character is off-balance and out of control.
- Movement can indicate the feelings involved in the current situation. A hand-held style is erratic, jagged, suggesting panic or attempting a more immersive “really happening to the viewer” feel.
- Composition places the subject within the world they inhabit. Where are they? How much framing is given to them as opposed to the background? What takes up the dominant portion of said framing? Whatever the answer to those questions are, the dominant image is the most important / powerful / meaningful thing in the shot, and we must consider its symbolism. (EXAMPLE: In BBC’s Sherlock there is a scene with Watson visiting his psychiatrist and we get a shot where his head is framed into the lowest left hand third [or was it right? Sorry, doing this from memory] – other than that we see only the wall of the room. He feels small, wants to hide. Feels swamped by the magnitude of the situation, or is choosing not to face it. Attempting to find some sense of order in the world around him, based on seeking comfort in the provided social system. Other conclusions may of course be drawn, and these are all valid approaches.)
Editing-
- Cutting is often used to establish pace and narrative flow. Can also be used to create a jagged effect on the viewer.
- Visual effects can be used near-endlessly; super-imposing images takes two images and makes the viewer see them together. In that moment, we must equate them or vividly contrast them.
Sound-
- Sometimes we get what seems to be diegetic sound but we notice it is enhanced; either louder or faster than it should be. This can be seen in the case of Eagle vs Shark when the female protagonist is watching the clock and the seconds tick louder and louder. She is very aware of the passage of time and each second seems like five for her. Non-diegetic sound enters here too as Jemaine enters the doors, and we understand that it is indicative of her getting swept away in a swirl of romanticised notions.
- Voiceovers give us character thoughts. Always notice what is being said and compare it to the codes interpreted by what we see at that time. These can often contrast / contradict one another, showing us either a disjoint or cynicism in the character’s worldview.
Mise-en-scene-
Separate from Camera yet involving it, this is all about everything that is part of a given shot. Its composition, its location, the costumes and makeup being worn by the performers, lighting and dominant colour schemes. All of these have their own symbolism, ranging from the verisimilitude of an era that is implied by a costume drama to the varying connotations we associate with individual colours.
Representation Practice:
Doctor Who - Season 2 Episode 3 "School Reunion" (writ. Toby Whithouse, Bob Baker, Dave Martin, Sydney Newman, dir. James Hawes, 2006)
Though not required, I think it would be very beneficial for you to pick a few 5min segments of this ep for practising, either on your own or in groups.
For a step-by-step approach to practising representation analysis, see Activity 2.11 on pg110 of your course books.
Have fun!
- T. Marcus
