Downton Abbey Meaning Making Moments

Representational Issue of Class & Status; Downton Abbey

Argument:

The clip portrays a massive gulf in class between characters, despite an apparent theme of unity given the context.

 

Mis-en-scene:

- Servants gathered around a cramped wooden table in a downstairs kitchen eating porridge juxtaposed with the upper class lord and ladies of the manor eating at a grand table with a plethora of both cutlery and food types, immediately showing the gulfs in classes in the clip.

- Servants pictured in darker lighting behind more important higher classed characters such as the Lord, when a servant is pictured in the darkened background scurrying between jobs where as the lord is pictured in the light slowly descending the stairs.

 

Editing:

- Shot reverse shot with focus on the lard and lady whilst the servant is seemingly irrelevant.

- Pace changes between different scenes, identifying when  class and status changes between different characters and cliques. Such as the transition between the slow and deliberate stair scene and the hectic servant kitchen scene.

 

Camera:

- Tracking shot of lord going down stairs showing his status as an individual however, the use of shot reverse shot in breakfast scene between butler and lord shos equality as there are no angle changes, preventing the connotation of a character having greater authority or power, which can be shown in the use of high to low angles.
- Close up of the lord after reading telegram builds up suspense.

- Overshoulder shot of paper showing the article about the titanic giving purpose for the scene and reasoning for the reactions.

 

Sound:

- Non diegetic sound; Classical music during the stair scene connotively suggests the characters high class.

- Diegtic;  Constant dialogue drawing reference to 'his lordship' is cataphotic reference to a character of higher class and status to who will innevitably be introduced later in the clip, suggesting an apparent change in class.

Representation of Ethnicity: Hotel Babylon

Representation of ‘Ethnicity’ in ‘Hotel Babylon’

Brett Moore; BrettMooreG322

Ethnicity is represented in a variety of different manners from the onset and throughout in this clip from hit television drama ‘Hotel Babylon’, invariably so from the establishing shot.

The establishing shot details a white male character wearing a suit and later in the scene two –again- white police officers are also shown. The very nature of the characters including their attire and apparent stature accentuates this clips continual portrayal of ethnically based hierarchy’s with white characters seemingly at the highest point in said hierarchy, with each of the three characters expressing power-respectively- through mis-en-scene. Despite the use of mis-en-scene however the scenes prominent use of camera work exceptionally shows the representation of ethnicity in this scene. Firstly a head shot is used which allows for the facial expressions to be magnified. This is vital because the shot shows the white male character looking down, which connotatively could suggest the white ethnic power at the for-front of this clip; as  someone with power is often said to be someone of whom looks down upon those with much less superiority in situ thus representing ethnicity. In addition as the shot evolves, the camera zooms and pans around the room – tracking- and displays the entire mis-en-scene and sets the tone for the rest of the extract in that an industrious picture is presented, which may cause the viewers to paint a stereotypical view of the ethnic groups of which may work in said settings thus foreshadowing later scenes. Once more the diegetic sound of movement and footsteps in the same scene builds tension and foreshadows the later events of the clip.

The very next scene is particularly interesting in terms of the mis-en-scene notably the character attires. The scene shows two female characters standing behind a desk in a receptionist’s role however the interest in the scene comes in through the outfits the characters are wearing. The white female character is wearing a white dress. White can be related to innocence, peacefulness and purity. The Asian female character however his depicted in black a colour representational of negativity or impurity thus suggesting that this clip is further implementing a white supremacist notion in that any other ethnicity is indubitably impure.

Later in the same scene three white male characters of whom are wearing suits much like the very first white male in the establishing shot, are presented further signifying the authoritarian power that surrounds a lot of the white, English characters in this clip. Slow paced editing as well as a tracking shot are also in use at this point, thus adding tension and emphasising the sheer power the prominent white male character exerts in the scene. This is also accentuated by the use of non-diegetic sound of atmospheric music as the music signifies the reoccurring theme of power.

The next scene uses a POV – point of view - shot very effectively picturing the ‘immigrants’ through a metal gate. This is a powerful image as it depicts the immigrant workers being chaperoned almost single file into a store cupboard, of which may lead many of the viewers to draw reference to many historical dictatorships that enforced such cruel acts upon perceptually less ethnic groups. The gate itself may resemble that of an ‘iron curtain’ of which is also synonymous with dictatorships and a controlled society in which those deemed to be below the highest power are treated in a manner that completely contradicts that of those who follow the expected patterns. In this instance therefore it is presented in manner that details the white male immigration officers being the dictators of a cruel and ethically unjust system that seems to prey on opposing ethnic groups. In addition the scene shows fast pace editing, effective in portraying the angst felt by the immigrant workers in knowing of the fate they may ensue should the immigration officers discover them.  Furthermore the low key lighting leads the picture to be dull and unsatisfying. This dullness is matched by the simplistic nature of the workers clothing potentially signifying the insignificance of the immigrants, in that they just blend in to the mis-en-scene whereas the white, English characters for example are presented in attire that makes them stand out, and are instantly recognisable within scenes unlike the immigrant workers.

The following scene depicts the immigrant workers within the small cupboard with low key lighting to suit the dark meaningful purpose of the acts. A wide shot is used to accentuate the vast amount of immigrant workers within Hotel Babylon of which is particularly poignant because despite the population density of immigrants here, still the white, English immigration officers and figure heads, instantaneously have a hold over such a vast amount of immigrants pictured, further signifying the clips depiction of white power and ethnic dictatorship over all others.

Therefore in conclusion the representation of ethnicity in the ‘Hotel Babylon’ scene is one the supports a dated thesis that white – in this case English – characters are always in superiority over opposing ethnic groups accentuated by the vast contrasts in attire, portrayal and the stereotypical, low skilled, low paid jobs the immigrant workers are assigned to ultimately constitute to an democratic portrayal and representation of ethnicity.

Monarch Of The Glen Essay

Task:

Our task was to watch the clip below, and draw analysis of how different techniques such as; editing, sounds, lighting and camera angles or shots, helped the clips portrayal of the perception of age of the characters.

 



Essay:

The 'Monarch of the Glen' accentuates age (throughout the clip) using a variety of key techniques, relative to; sounds, camera, editing and mis-en-scene.

Firstly, in one particular scene, two protagonists are pictured arguing. The use of camera angles and editing particularly help to relay that there is indeed a difference in age between the protagonists. Here overhead shots are used relentlessly, but most notably the shot of the man is taken from a higher point looking down upon the female character. Similarly a low shot looking up upon the male character further represents and accentuates the gulf in age between the two protagonists with the higher overhead shot expressing higher authority over the female character. The connotations of this are of course that of an older person having authority over the younger person in the scene.

The age of the girl is an over riding factor within this clip. This is further accentuated by the editing, in a scene in which the girl attempts to drive a car. The initial connotations will suggest that she is of a legal to drive. However as she drives away the scene directly cuts to a close up of a seemingly suspicious or concerned character, leading the audience to begin to feel anxious. The camera shot remains constant before the crash, but almost immediately cuts to the next scene in which Amy's (the girl) adolescence becomes apparent and therefore the use of straight cuts expresses a problem, in which connotations of this, question Amy's age.

Mis-en-scene is also an integral part to categorising the age groups of many of the clips protagonists. Most notably in the scene where the main male character invites Amy's headteacher into a special, adult themed room. The introduction of this as well as dialogue to coincide, which allows the audience to collate perceptions of the age of the headteacher in particular. Once more this is the first time in the clip we are introduced to the three tier age hierarchy, descending from the headteacher, to the male character and finally to Amy, all presented as a result of Mis-en-scene.  

Directly after Amy running away, the shot cuts to that of a rainbow during the transition between scenes. Given the nature of what has just happened in the clip and the character, I find this a particularly poignant cut and transition. Rainbows are often associated with nursery schools, due to their use in the depiction of primary colours, in said context, and so the editing at this stage helps the audience to depict the possibility of Amy's ever materialising, adolescence.

Relating to a previous point - about the crash scene- the use of non diegetic sound is also very important in terms of age perception, as the introduction of the crash sound accentuates further as to how Amy's age may be a problem. 

Furthermore the use of non diegetic sounds throughout the clip in my opinion adds to Amy's adolescence, particularly in many of the working scenes in which one would expect a more masculine or mature piece of accompanying music instead it is that of a somewhat juvenile melody, all congregating into connotations of Amy's young age.

Despite the juvenile sounds, the lighting used in the headteacher and the room scene resembled that of a mature nature. Notably Amy was not present in this scene, potentially providing reason for the sudden escalation in the ageing of the scene, which directly contrasts to the rest of the clip in which Amy is largely present, that seems to portray are more adolescent mood, thus further and most poignantly expressing the gulf in age between Amy and the headteacher, and between Amy and the rest of the adult authoritarians pictured in this clip.