In terms of mise-en-scene there are a lot of cables, computers and bright lights to emphasise on the laboratory setting. This creates a sci-fi feeling, which really helps to establish the genre. The low key lighting is especially helping to create the dark and mysterious atmosphere.
When listening to the music, there is a lot of non-diegetic music. The non-diegetic sounds of water dripping in the basement and the non-diegetic dramatic music, helps to establish the genre and creates a certain tension. Throughout the whole clip the music is very ominous and then all of a sudden when they stop kissing, it becomes even more dark.
When looking into cinematography, the beginning of the clip starts with a medium close-up, which gives us a real focus on her face and characteristics.
When denoting her appearance, the audience would pick up on her black hair. Had she been portrayed as the stereotypical western beauty, she would have been blonde and would have worn more make-up such as a red lipstick. In this scene, she wears a light blush and a very neutral lipstick.
Furthermore, the framing in the first shot focuses on the character, but it also establishes the narrative enigma, because it doesn't suggest where the location is. During the dialogue, there is a shot reverse-shot which keeps returning back to the woman with the black hair. Through this, the audience knows that she is he main character and the central protagonist is established. According to Propp's character archetype theory, she would be the "Hero".
From that shot there is a reverse-shot to the antagonist, where we see her in a medium close-up.
Her lack of make-up, messy hair and color of the hair, her innocence is portrayed.
When our central protagonist sees, how the girl is suffering, she looks like she is in pain and the audience is being positioned to empathise with the central protagonist.
When looking into representation, we are positioned to identify ourselves with the central protagonist, because the shot keeps going back to her. Due to the fact that our central protagonist is empathising and feeling sorry for the antagonist, the audience automatically does the same.
There is a stereotype created of the girl with the lighter hair as the female victim. There is also created a counter-type for the central protagonist, because she is helping the girl. In other films, helping a female would usually be done by a male actor. It has become normative in society and has become a stereotype that men are strong and are always the ones who help a female in need of help.
This medium two-shot below is very tightly framed, leaving no speace between the two character. This shot is connoting that there is a bond between the two characters.
The media language chosen of this slight high angle and the medium two-shot, signifies that they are both vulnerable and that they are both in danger.
During this small clip, there are soft and slow piano tunes. This has connotations of sadness and it really anchors the relationship between the two characters.
The welsh accent used in this program, would be suited for a British or Welsh primary audience. This shows that this show could not be shown in America. Due to this, the show is not gaining a large amount of profit. Hence, it doesn't support the Gant Rule.
When the male character is observing the two girls in the basement and starts to record it as well, it could be denoted as male gaze features. The shot is cutting from the two girls to the male character.
This intertextuality, is used to appeal to the secondary target audience, which is parents and older people, because they might have seen the movie. The younger audience on the other hand, might not understand the reference.
Stuart Hall, stated that semiotics had a lot of limitations as it was assumed that all of the reading resided to the only in the text. He argued that meaning resides in the audience as well and that the different people react to different things in different ways.
From that shot there is a reverse-shot to the antagonist, where we see her in a medium close-up.
Her lack of make-up, messy hair and color of the hair, her innocence is portrayed.
When our central protagonist sees, how the girl is suffering, she looks like she is in pain and the audience is being positioned to empathise with the central protagonist.
When looking into representation, we are positioned to identify ourselves with the central protagonist, because the shot keeps going back to her. Due to the fact that our central protagonist is empathising and feeling sorry for the antagonist, the audience automatically does the same.
There is a stereotype created of the girl with the lighter hair as the female victim. There is also created a counter-type for the central protagonist, because she is helping the girl. In other films, helping a female would usually be done by a male actor. It has become normative in society and has become a stereotype that men are strong and are always the ones who help a female in need of help.
This medium two-shot below is very tightly framed, leaving no speace between the two character. This shot is connoting that there is a bond between the two characters.
The media language chosen of this slight high angle and the medium two-shot, signifies that they are both vulnerable and that they are both in danger.
During this small clip, there are soft and slow piano tunes. This has connotations of sadness and it really anchors the relationship between the two characters.
It can be interpreted to be romantic and it fits well with all the other signifiers that have been encoded into this text.
This shot shows how the two characters are staring into eachothers eyes and grabbing eachother so hard around eachothers arms. This connotes that there is a romantic feeling between the two of them.
The welsh accent used in this program, would be suited for a British or Welsh primary audience. This shows that this show could not be shown in America. Due to this, the show is not gaining a large amount of profit. Hence, it doesn't support the Gant Rule.
When the male character is observing the two girls in the basement and starts to record it as well, it could be denoted as male gaze features. The shot is cutting from the two girls to the male character.
Stuart Hall, stated that semiotics had a lot of limitations as it was assumed that all of the reading resided to the only in the text. He argued that meaning resides in the audience as well and that the different people react to different things in different ways.
When looking into semiotics and it's syntatic level, the dominant elements on screen are the 2 girls. Since, the antagonist keeps pushing her away, the overall effects is that we begin to feel sorry for our central protagonist.
When just focusing on the representational level, we can see that our central protagonist has an interest in women and has feelings for the antagonist, alien. She is the one that keeps wanting to kiss her, despite the fact that the antagonist keeps pushing her away. This denotes, that she has a strong interest in her, because she doesn't stop immediately. In the scene that I analysed from 1:30 to 2:00 min, the camera is nearly always creating a medium close-up or close-up, so that the audience can clearly see the emotions of both of them.
The editing in this clip is continuity editing, which is very linear. There are no jump-cuts in the scene.
Your analysis is generally good, you've used a wide range of terms accurately, but you're lacking detail in the denotation (description of signifiers) and not using the semiotic terms!
ReplyDelete"It could be said that the Male gaze features when the man in the control room is watching the two girls on a screen." - this is not how you would write on this. Consider: By cutting away from the cell itself to upstairs, where a male protagonist is viewing the CCTV footage on a small screen, and invites the two others to share the visual spectacle, we get a very literal example of the 'male gaze', feminist critic Laura Mulvey's concept that argues media producers privilege a heterosexual male viewer when creating texts. The male character, however, is denoted as sleazy, with the central protagonist (who the audience have been positioned to empathise with) angrily attacking him, so this scene can be 'read' (Stuart Hall) as sympathetic to Mulvey's position.