Thursday 8 December 2011
Monday 5 December 2011
Sound | Editing | Paragraphs: Skins
The dialogue between the father and the son shows a reversal in audeince expectations. We see the father shouting and swearing at the teenager, which is normally something we would expect to hear from the teenager. The father's aggressive reaction to the diegetic rock music plays to the stereotype that teenagers play loud music and are inconsiderate to older people. His reaction also plays to the stereotype that teenagers frustrate their parents.
The image of the protagonist's sister of being rebellious in contrast to her brother is reinforced by the diegetic sound which is magnified of her heels on the pavement. This emphasises the stereotype that she has been out all night and also suggests that she is trying to act more like an adult. This stereotype is used in effect to portray to the audience that all teenage girls behave in a more adult way and dress in a way to make themselves more desirable to the opposite sex. On the other hand, non-diegetic sound is used to represent the protagonist's routine, having a repitive beat alongside the montage. This challenges to stereotype that teenagers are unorganised and cannot commit themselves to a regular routine.
Parallel editing is used to show that the boy and girl are related and have a strong relationship. We can see through the parallel editing that they lead very different teenage lives, showing binary opposite characters. She is coming home; rebelling against house rules and he has been in his own bed. This conforms to Levi Strauss' idea that all narratives have opposites. The two narrative threads come together as she reaches the window and the cut aways show that she relies on him to cover up for her.
Action editing is used when the protagonist begins to excercise in his bedroom, using short and fast cuts to emphasise that it is the character's regular routine and is dealt with effectively. Although this style of editing conforms to the stereotype view that teenagers have a hectic life it also challenges it as the protagonist clearly has an organised lifestyle. This is also represented in a montage so the audience can see the different exercise movements and see that the routine is fast and tiring; which conforms to the stereotype that teenagers take great care in their appearence. The linear narrative is continued when an eyeline match is used to view the protagonist's perspective when he is looking out of the window at his nude neighbour. This emphasises the stereotype that teenagers are sexually charged. Cut away is used to focus on the sister away from the protagonist which reinforces to the audience that both teenagers have different lifestyles, the boy being organised and responsible and the girl being rebellious and carless. This complies to Straus' theory that binary opposites are used in narrative to represent the seperate lives of both characters.
The image of the protagonist's sister of being rebellious in contrast to her brother is reinforced by the diegetic sound which is magnified of her heels on the pavement. This emphasises the stereotype that she has been out all night and also suggests that she is trying to act more like an adult. This stereotype is used in effect to portray to the audience that all teenage girls behave in a more adult way and dress in a way to make themselves more desirable to the opposite sex. On the other hand, non-diegetic sound is used to represent the protagonist's routine, having a repitive beat alongside the montage. This challenges to stereotype that teenagers are unorganised and cannot commit themselves to a regular routine.
Parallel editing is used to show that the boy and girl are related and have a strong relationship. We can see through the parallel editing that they lead very different teenage lives, showing binary opposite characters. She is coming home; rebelling against house rules and he has been in his own bed. This conforms to Levi Strauss' idea that all narratives have opposites. The two narrative threads come together as she reaches the window and the cut aways show that she relies on him to cover up for her.
Action editing is used when the protagonist begins to excercise in his bedroom, using short and fast cuts to emphasise that it is the character's regular routine and is dealt with effectively. Although this style of editing conforms to the stereotype view that teenagers have a hectic life it also challenges it as the protagonist clearly has an organised lifestyle. This is also represented in a montage so the audience can see the different exercise movements and see that the routine is fast and tiring; which conforms to the stereotype that teenagers take great care in their appearence. The linear narrative is continued when an eyeline match is used to view the protagonist's perspective when he is looking out of the window at his nude neighbour. This emphasises the stereotype that teenagers are sexually charged. Cut away is used to focus on the sister away from the protagonist which reinforces to the audience that both teenagers have different lifestyles, the boy being organised and responsible and the girl being rebellious and carless. This complies to Straus' theory that binary opposites are used in narrative to represent the seperate lives of both characters.
Thursday 1 December 2011
Mise-en-scene | Camera Angle | Paragraphs: Skins
The mise en scene of the protagonists bedroom challenges and conforms to stereotypical views about youth culture. The establishing shot suggests that the series targets a teenage audience and it will follow the life and experiences of a teenager. The duvet cover shown is of a double bed with a naked man and woman, suggesting that this age group is sexually charged. The protagonist is positioned in the middle of the two bodies suggesting that he is sexually inexperienced. It could also be suggesting that he is alone and confused about his sexuality, which conforms to teenage sterotypes. In this shot natural lighting is used to give a sense of realism so the teenage audience identifies with the life of the protagonist.
The personality of the protagonist is displayed further to the audience as him being neat and organised, when the clothes in his draws are neatly tidied and through the montage we see a neat room. This challenges the stereotypical view that teenagers are messy so the teenage audience can assume that this character is very different to what they expect. This contrasts to the representation of his sister as we see that she has been out all night and her make-up and hair are not well groomed; with her clothing also being skimpy and provocative. Therefore the brother and sister are binary opposites as they have seperate lifestyles, the brother's being responsible whereas the sister is rebellious by going out when she is clearly not of an mature age (when we see her change into her school uniform).
The idea that teenagers are curious about sex is reinforced through the over the sholder shot used when he is looking at the older woman getting dressed through the window over the road. The shot is hand held so that the audience can have the same experience as the teenage main character. The following close up shot shows a lack of expression suggesting that this is routine and he has become disaffected by the image. This conforms to the stereotype that teenagers' lives are surrounded by sex and it plays a big part of their life.
The camera angle of the protagonist's sister is a track shot starting from the bushes and working outwards into an eyeline shot of her walking along the street. This creates a sense of secrecy as the camera angle suggests that she has something to hide and by being out in the open she is vulnerable. The audience can then assume that she has been out all night which conforms with the stereotype that teenagers are rebellious and hide secrets from their parents. The protagonist's perspective is shown via a low angle, hand held shot, looking down at her sister; which suggests that he has power over her. Transferring to a high-angle of the sister's point of view of the brother at the window to show her vulnerability; conforming to the stereotype that sister's rely on their brothers for safety.
The personality of the protagonist is displayed further to the audience as him being neat and organised, when the clothes in his draws are neatly tidied and through the montage we see a neat room. This challenges the stereotypical view that teenagers are messy so the teenage audience can assume that this character is very different to what they expect. This contrasts to the representation of his sister as we see that she has been out all night and her make-up and hair are not well groomed; with her clothing also being skimpy and provocative. Therefore the brother and sister are binary opposites as they have seperate lifestyles, the brother's being responsible whereas the sister is rebellious by going out when she is clearly not of an mature age (when we see her change into her school uniform).
The idea that teenagers are curious about sex is reinforced through the over the sholder shot used when he is looking at the older woman getting dressed through the window over the road. The shot is hand held so that the audience can have the same experience as the teenage main character. The following close up shot shows a lack of expression suggesting that this is routine and he has become disaffected by the image. This conforms to the stereotype that teenagers' lives are surrounded by sex and it plays a big part of their life.
The camera angle of the protagonist's sister is a track shot starting from the bushes and working outwards into an eyeline shot of her walking along the street. This creates a sense of secrecy as the camera angle suggests that she has something to hide and by being out in the open she is vulnerable. The audience can then assume that she has been out all night which conforms with the stereotype that teenagers are rebellious and hide secrets from their parents. The protagonist's perspective is shown via a low angle, hand held shot, looking down at her sister; which suggests that he has power over her. Transferring to a high-angle of the sister's point of view of the brother at the window to show her vulnerability; conforming to the stereotype that sister's rely on their brothers for safety.
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