Applying the concept of Representation to my AS Media Coursework
For my AS coursework, I produced a
three minute moving image sequence that was to be representative of a segment
from a potential film. Representation is defined by the way in which the media
portrays elements of society; and whether it is conveyed negatively or
positively, the distribution of representations within a specific media
platform is done through careful mediation.
Through a feminist interpretation,
my AS coursework integrates Laura Mulvey’s “The Male Gaze” (1975) Theory into
the fabric of it’s creation. This theory suggests that the audience, whether
consciously or not, assumes the role of a male viewer and adopts a masculine perspective
– regardless of gender. In my film, there are a variety of wide, high angled
camera shots that are edited in a way that exposes the female protagonist as
she is seen to be in her underwear and a t-shirt in a bath. The high angled
camera angle automatically coerces the audience to assume a role of power over
the character displayed within the film, and assumes a male perspective –
regardless of gender. In addition, I utilised a panning and downwards tilt shot
that displayed the female protagonist and her body as I “looked her up and
down” with the camera lens. This is congruent with Mulvey’s theory as I was
unintentionally objectifying her by displaying her body in order to satisfy a
male audience.
The representation of the male
protagonist reinforced the archetypal characteristics of a ruthless and
merciless vampire figure, as evidenced through a wide angled camera shot that
shows his determination to attack as he runs through the street. As the
narrative progresses, I soon subvert the ruthless characteristics associated
with the stereotype of a vampire, and direct his character so that he exhibits
compassion. This is evidenced through an extreme close-up camera shot of his
mouth where he delivers the line, “bite someone to pass it on, then you’ll be
free”.
My moving image was produced with
the intention to satisfy a Western audience, as the narrative follows the
supernatural and the fantastical. Filming in Dubai meant that I had to be
sensitive and respectful, as the culture doesn’t recognise the supernatural;
however, the male actor in the film was of Middle Eastern descent and didn’t
oppose to the idea of being involved. From a hegemonic interpretation of my
moving image, it is through an enigma code that highlights the wealth of the
female protagonists family as a close up camera shot displays an heirloom
encrusted with diamonds: further signifying the old money associated with her
family. This segment of footage highlights the power of her family and how they
exercise this power through cultural influence, rather by force.
Orrin Klapp (1962) argued that
there is a distinction between social types and the stereotypes. Klapp defines
a social type as an entity that exists within the realm of social norms and
values, whereas in comparison, a stereotype is a figure that exists outside society.
This is relevant to my moving image as there is a clear transference of this
notion between the two characters. The male character in my moving image is
depicted as a stereotype as he is an “unknown, supernatural entity”, therefore
existing outside the realms of the socially accepted cultural norms. He then
regains the position of a “social type” when he transfers the characteristics associated
with the stereotype onto the female protagonist; who was at first, a social
type. The audience in this case may relate to the female protagonist who had
those archetypal characteristics projected onto her. In this instance, it would
mean that she would become the villain, and because the audience would have
already related to her whilst she was depicted as the “social type”, this
transference of characteristics would then evoke sympathy from the audience.
As my moving image is founded upon
the convergence of three genres: fantasy, supernatural and horror, it appeals
to a wider audience demographic. It also relates to the Uses and Gratifications
Theory, as through the fantastical representation of the male protagonist as a
vampire and supernatural creature, it offers audiences a form of escapism as
reiterated through the notion of “simulacra” and Baudrillard’s Theory (1998) of
“hyper reality”. The idea of “simulacra” is that it exposes simulations of
reality that replace the real world and the way in which it operates; in
reference to my moving image, the depiction of a supernatural entity is
entirely simulated through an alternative, imaginative realm, but is then projected
onto reality to appease to a Western audience. The way in which my product
displays this idea is through the use of various camera angles, such as the
opening where I use a wide-angled mid shot to capture the aggressive stance of
the omniscient character; then transitioning to an extreme close up camera
angle of his hands as they morph into an exaggerated and twisted position.
To imitate the ideology
surrounding O’Sullivan’s (1998) theory regarding gender and how it is conceived
primarily through language, the vulnerability of my female character is
evidenced through an extreme close up
camera shot of her face as she says “What do you want, what do you want from
me?”. The desperation of the female character is blatant through her language
and audiences can infer that she is in fact helpless within the situation;
therefore reinforcing the stereotype of female characters being represented as
the “damsel in distress” in horror or thriller films.
My moving image sequence presented
many alternative representations and conformed to the structures and ideologies
of relevant theories. It can be inferred that throughout my moving image,
representations of specific characters can change throughout the unfolding of a
narrative and are not bound by specific characteristics, unless it is the director’s
intention, and in my case, it was my intent to provide alternative and changing
representations but still have sections where I depict the archetype.
Mark gained:
A*, 23/25
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