Free me

Free me

Sunday 29 November 2015

Class and Status


Click on image to access clip.

Discuss the ways in which the extract constructs the representation of class & status using the following:

  • Camera shots, angles, movement and composition
  • Editing
  • Sound
  • Mise en scene

50 marks

EAA: Explanation, analysis, argument-20 marks
EG: Use of example-20 marks
T: Terminology-10 marks

Representation of Class and Status



Find two examples (a mixture of images and clips) from UK and US TV dramas for each of the following:

  • Upper Class (rich/posh)
  • Middle Class (neither rich nor poor/in the middle)
  • Working Class (poor/common)

Add a brief justification for each choice.

Possible programmes:

Mad Men
Capital (BBC)
Peaky Blinders
Breaking Bad
Misfits
Downton Abbey
The Village
Ripper Street
Whitechapel
Spooks
Doctor Who
Atlantis
Merlin
Sherlock
Last Tango in Halifax
Game of Thrones
Silk
Upstairs Downstairs (2012 series)
The Mill
The Go-Between (2015 version)
Mr Selfridge
The Paradise (BBC)
The Wire

Class and status: what class are you?








What class are you?




Representation of ethnicity extract



Click here to watch the extract from the BBC2 series Line of Duty.  The extract is from series one, aired in 2012.

Work in your groups, to answer this question:


Discuss the ways in which the extract constructs the representation of ethnicity using the following:

  • Camera shots, angles, movement and composition
  • Editing
  • Sound
  • Mise en scene




50 marks

EAA: Explanation, analysis, argument-20 marks
EG: Use of example-20 marks

T: Terminology-10 marks



Use this glossary to help you.


Making progress with your use of terminology.

Post your findings to your blog, under the title 'Representation of ethnicity - Line of Duty extract.'

As you are using the detailed glossary, I am expecting to see that you are broadening your use of accurate terminology.


Area of focus:

EDITING: Hannah F, Jordan, Frazer and Niamh

SOUND: Ross F, Grace, James T, Jake G.

MISE-EN-SCENE: Aviv, Louisa, Lewis, Ellie.

CAMERA WORK: Dom, Ryan, Nathan, Georgina.

EDITING: Ethan, Rayan, Angel, Tom C.

CAMERA WORK: Harry, Taylor, Leah, Rob.


Sunday 22 November 2015

TV Drama suggestions


The Wire
The Walking Dead
Breaking Bad
Chicago Fire
Game of Thrones
Doctor Who
Happy Valley
The Fall
Peaky Blinders
The Missing
Boardwalk Empire
Downton Abbey
House of Cards
Spooks
True Detective
Misfits
Gossip Girl
Mr Robot
Ironside
ER
The Good Wife
Suits
Top Boy
Broadchurch
The Villiage
The Mill
Skins
Line of Duty
Homeland
Prison Break
Heroes
Lost
Agents of SHIELD
Waking the Dead
Luther
The Vampire Diaries
True Blood
Hustle
Empire
Power
Law & Order
NCIS: Los Angeles

Hawaii 5-O
My Mad Fat Diary
Last Tango in Halifax
Ripper Street
Silk
Scott and Bailey

Representation of ethnicity




Find examples of how the following ethnic groups are represented in TV drama (British or American):

  • Black
  • White
  • East-Asian
  • South-Asian

Find examples from three TV dramas (not soaps or films) for each ethnic group.  Make it clear which TV dramas your examples are from.  Post your examples to your blog, and answer the following questions about each of them:

  1. Are the representations stereotypical or not?
  2. How and why is this the case?


Representations of ethnicity: the theory.



Four key themes in racial representations:

  • exotic or 'other'
  • dangerous
  • humorous
  • pitied

(Alvarado et al. 1987: 153)

Unity and Conflict

Conflict is often the theme between ethnic groups and the wider society.


Unity is often an element of the representation of ethnicity.  This hits a stereotype of ethnicity: that of close families and tight communities.

TV Dramas: generic conventions



You will find that TV dramas all have the following ingredients:

Characters – even particular kinds of characters: eg, at its most simple, ‘good’ and ‘bad’ characters.

Stories – they all tell stories, whether those stories involve adventure, crime or romance and they often, but not always, end happily.

The stories are told against familiar backdrops: – eg, homes, police stations and offices (for crime dramas), hospitals (for medical dramas) – most of which are created in studios. However, most dramas also use outside locations to create particular effects.

Camerawork – particular kinds of shots are used: eg, sequences involving establishing shots followed by mid-shots of characters, shot/reverse shots to show character interaction and, in particular,close-ups to show the characters’ emotions.

Stories use dialogue to tell the stories. Occasionally, monologues are built in (as voiceovers, a character telling a story).

Music is used to punctuate the action, create effects (suspense, tension) and underline emotional moments.


Particular subgenres tend to have items which make them immediately identifiable – police cars, blue lights, operating theatres and scalpels, triage/reception areas in hospitals. Icons of the genre, they symbolise the (sub)genre.

Saturday 14 November 2015

Representations of Disability. Work to do.

Watch the clip below from the BBC drama 'The Street', and make notes on the four key areas:

  • Camera shots, angles, movement and composition
  • Editing
  • Sound
  • Mise en scene
Plan a response to the question. You will be answering this in class tomorrow (question is below the clip). You will use your notes in tomorrow's lesson, to help you to answer the question.


Use your glossaries to help with terminology.




QUESTION: Discuss the ways in which the extract constructs the representation of disability using the following:

  • Camera shots, angles, movement and composition
  • Editing
  • Sound
  • Mise en scene


50 marks

EAA: Explanation, analysis, argument-20 marks
EG: Use of examples-20 marks

T: Terminology-10 marks

Remember: only use relevant examples that can be linked to the question.  Use accurate terminology consistently.  Link your analysis to Paul Hunt's stereotypes.  

Representation of disability: stereotypes and examples



Here are some stereotypical portrayals of disabled characters, which meet some of Paul Hunt's 10 stereotypes of disabled people in the media:

As sinister or evil:







As a burden:


The super cripple:





As an object of curiosity or violence:




As non-sexual:





Many characters bridge two or more stereotypes of people with disabilities.  e.g. the husband in Lady Chatterley's Lover can also be seen as unable to participate in daily life, and as a burden - 2 more of the stereotypes.

TASK:


  • Find 4 or 5 more examples of stereotypical disabled characters;
  • Name the character and the drama, and illustrate with a clip or image;
  • State which stereotype they meet, out of Paul Hunt's 10 stereotypes of disabled representations in the media;  
  • You cannot repeat my examples above;
  • Post to your blog by the end of the lesson.


Representation of disability in TV drama


By portraying disabled characters according to stereotypes, the media are perpetuating (continuing) out-dated ideas about disability.  The media itself is arguably responsible for misconceptions about ability and disability, by regurgitating portrayals of disabled characters that fit stereotypical ideas about disability.  Paul Hunt, in his 1991 study states:

Stereotype assumptions about people with impairments are based on superstition, myths and beliefs from earlier less enlightened times. They are inherent to our culture and persist partly because they are constantly reproduced through the communications media; books, films, television, newspapers and advertising.


The stereotypes:

In his 1991 study, Paul Hunt found that there are 10 stereotypes of disabled people, used in the media:

  1. The disabled person as pitiable or pathetic
  2. An object of curiosity or violence
  3. Sinister or evil
  4. The super cripple
  5. As atmosphere
  6. Laughable
  7. His/her own worst enemy
  8. As a burden
  9. As Non-sexual
  10. Being unable to participate in daily life
Shakespeare (1999) presents a potential reason behind the use of one of these stereotypes:

"The use of disability as character trait, plot device, or as atmosphere is a lazy short-cut. These representations are not accurate or fair reflections of the actual experience of disabled people. Such stereotypes reinforce negative attitudes towards disabled people, and ignorance about the nature of disability"

In other words, the disability itself is often used as a hook by writers and film-makers to draw audiences into the story. These one-dimensional stereotypes are often distanced from the audience - where characters are only viewed through their impairment, and not valued as people.

Shakespeare (1999) continues:

"Above all, the dominant images [of disabled people] are crude, one-dimensional and simplistic."




Sunday 8 November 2015

Representations of disability. Individual and social models.


Dominant notions of disability: the individual model

The societal view of disability generally conforms to the individual or overcoming or medical model of disability. This holds that disability is inherent in the individual, whose responsibility it is to ‘overcome’ her or his ‘tragic’ disability.

Often this ‘overcoming’ is achieved through medical intervention, such as attempts at ‘cures’. For example, top wheelchair athlete Tanni Grey-Thompson was forced as a child to wear heavy leg callipers which gave her blisters, rather than being offered the simple and practical option of using a wheelchair.

This approach to disability aims for the normalisation of disabled people, often through the medicalisation of their condition.

The social model of disability:

This distinguishes between impairment (the physical or mental 'problem') and disability (the way society views it as being a negative). It holds that impairments are not inherently disabling, but that disability is caused by society which fails to provide for people with impairments, and which puts obstacles in their way.

Examples include access: the built environment often does not allow access for people with mobility problems. Discriminatory attitudes are also disabling: for example, the idea that disability is a personal tragedy for the ‘sufferer’ impinges upon disabled people in a variety of negative ways, from their social relationships to their ability to get jobs.

"Disability is produced in different forms, and in different proportions, in different cultures" (Oliver, 1996).

Difference:

It has been argued that dominant notions of ‘normality’ and beauty do not allow for the natural range of difference in human form. These notions are not only prejudicial to the acceptance of disabled people, but also increasingly impact on non-disabled people. Charlotte Cooper, for example, applies the social model to obesity, and concludes that there are some important categories through which obesity can be defined as a disability:

• A slender body is ‘normal’
• Fatness is a deviation from the norm.
• Fat and disabled people share low social status.
• Fatness is medicalised (e.g. jaw-wiring and stomach-stapling).
• Fat people are blamed for their greed and lack of control over their bodies.
Consider why it is that fat people or disabled people are rarely portrayed as sexually attractive.

TV drama. Representation feedback and mark scheme 2014.