Example Response
How are different age groups represented in this show?
The first shot is a misleading close up of the central character, Tony. His facial expression is calm and there is ambient sound of church bells in the background which along with the colour design of white sheets and pillows creates a calm and serene opening impression of the character. The camera slowly pulls back/ zooms out to a long shot and in doing so creates a radically different impression of the character. The set design illustrates two points about this character and by extension the representation of young people in the show. The duvet cover is marked by two naked bodies. There are evident connotations of sexuality while it further indicates that the representation of younger people may be more controversial than appeared initially. The room’s pristine appearance and general tidiness and minimalist style may indicate that this character is both calm and organised.
The editing then changes as we have a series of jump cuts of the character exercising. This is preceded by the diegetic sound of an electrical alarm. The electrical alarm sound may carry connotations of Tony’s cold organisational control. This sequence helps to illustrate the character’s vanity as he narcissistically looks at himself in the mirror and also reinforces the sense of his organisation.
Tony is given the most screen time throughout these scenes as the editing serves to foreground his importance. A young audience may well be positioned to admire his sense of self control and his control over others that becomes evident in subsequent scenes. The point of view shots from Tony as he gazes out of his window at the woman in the opposite house further reinforce his status in the drama as they highlight his sexuality and may be designed to make the audience wish to identify with the character. A shot reverse shot in the editing process may offer an early indication that the older generation are not represented as having any more morality that the younger generation as we cut to a medium long shot of a smile as she is aware of being observed.
As Tony’s sister enters the scene we cut between her arrival and his attempts to help her gain entry into the house without his parents’ knowledge. This scene creates particular representations of age groups. The older or middle aged generation are represented negatively. Both parents are ignorant of what their children are doing, behave in a way that may be perceived as ridiculous, particularly in the contrast between Tony and his father, and seem to have less control of their own lives.
Effie’s costume (short skirt, split tights) and appearance (anxious) help represent her as a steretpypically ‘wild’ teenager who has spent the night out partying. When she gains Tony’s attention there is a close up of his hand as he signals to her that he can control the situation. As he then turns up the diegetic music (synth based and annoying) we again have a point of view of the door preparing us for the next shot. The editing (again prioritising Tony with screen time) and camerawork (pov) indicate his control over his father as he distracts him from Effie’s entrance. The following scene cuts between close ups of the exasperated father, Tony’s feigned confusion and Effie’s quickly redressing into a more formal school uniform and removing make up. This editing serves a number of purposes. It creates contrasts between Tony’s calm reaction and his father’s agitated and unreasonable manner, further positioning the audience to disrespect the older generation. It also serves to highlight the efficiency of Effie’s transformation. The close ups allow us to focus on the father’s strained expression (again in contrast to his children) and the soundtrack creates massive contrasts. The father’s dialogue is characterised by obscenities while his tone is anxious as he screams.
The next scene carries on the theme of representing the young as in control and their parents as pathetically disempowered. While Tony remains calm controlled and still his father appears agitated and continues screaming abuse as he can’t get into the bathroom. The framing of the shots contributes to this sense as does the mise en scene. We note that Tony is reading a novel by Sartre connoting his intelligence in a clear tidy space connoting his thought processes and behaviour while his father is framed impotently banging at the door in a medium shot which has clutter in the foreground connoting his lack of peace and control.
When we change scene to the kitchen Tony’s mother’s reaction shots to her husband’s extreme language and behaviour together with her more affectionate dialogue (‘sweetheart’) may create a more positive representation of a loving mother and a more concerned older generation but it should be noted that in this scene it is clear from the dialogue that she too is ignorant of her daughter’s whereabouts the previous evening, ‘she didn’t sleep well last night.’ Types of shot are used in this scene to create a futher senses of generational conflict as when Effie and Tony are shown calmly seated at the table to emphasise their solidarity. Costume continues to play a part in understanding characters and forming representations. Effie now is without make up and dressed immaculately in school uniform. Tony is dressed blandly and conservatively in khakis. This outer show of ‘respectable’ and ‘conventional’ behaviour is clearly just smokescreen to screen their true natures or identities from their ignorant parents.
When Tony leaves the house different stereotypical representations of younger people are presented. While the mise en scene of Tony’s room suggested control, as we cut to Sid’s room it is evident that he is far messier. The first shot, a transitional shot of the phone ringing in a soiled plate
How are different age groups represented in this show?
The first shot is a misleading close up of the central character, Tony. His facial expression is calm and there is ambient sound of church bells in the background which along with the colour design of white sheets and pillows creates a calm and serene opening impression of the character. The camera slowly pulls back/ zooms out to a long shot and in doing so creates a radically different impression of the character. The set design illustrates two points about this character and by extension the representation of young people in the show. The duvet cover is marked by two naked bodies. There are evident connotations of sexuality while it further indicates that the representation of younger people may be more controversial than appeared initially. The room’s pristine appearance and general tidiness and minimalist style may indicate that this character is both calm and organised.
The editing then changes as we have a series of jump cuts of the character exercising. This is preceded by the diegetic sound of an electrical alarm. The electrical alarm sound may carry connotations of Tony’s cold organisational control. This sequence helps to illustrate the character’s vanity as he narcissistically looks at himself in the mirror and also reinforces the sense of his organisation.
Tony is given the most screen time throughout these scenes as the editing serves to foreground his importance. A young audience may well be positioned to admire his sense of self control and his control over others that becomes evident in subsequent scenes. The point of view shots from Tony as he gazes out of his window at the woman in the opposite house further reinforce his status in the drama as they highlight his sexuality and may be designed to make the audience wish to identify with the character. A shot reverse shot in the editing process may offer an early indication that the older generation are not represented as having any more morality that the younger generation as we cut to a medium long shot of a smile as she is aware of being observed.
As Tony’s sister enters the scene we cut between her arrival and his attempts to help her gain entry into the house without his parents’ knowledge. This scene creates particular representations of age groups. The older or middle aged generation are represented negatively. Both parents are ignorant of what their children are doing, behave in a way that may be perceived as ridiculous, particularly in the contrast between Tony and his father, and seem to have less control of their own lives.
Effie’s costume (short skirt, split tights) and appearance (anxious) help represent her as a steretpypically ‘wild’ teenager who has spent the night out partying. When she gains Tony’s attention there is a close up of his hand as he signals to her that he can control the situation. As he then turns up the diegetic music (synth based and annoying) we again have a point of view of the door preparing us for the next shot. The editing (again prioritising Tony with screen time) and camerawork (pov) indicate his control over his father as he distracts him from Effie’s entrance. The following scene cuts between close ups of the exasperated father, Tony’s feigned confusion and Effie’s quickly redressing into a more formal school uniform and removing make up. This editing serves a number of purposes. It creates contrasts between Tony’s calm reaction and his father’s agitated and unreasonable manner, further positioning the audience to disrespect the older generation. It also serves to highlight the efficiency of Effie’s transformation. The close ups allow us to focus on the father’s strained expression (again in contrast to his children) and the soundtrack creates massive contrasts. The father’s dialogue is characterised by obscenities while his tone is anxious as he screams.
The next scene carries on the theme of representing the young as in control and their parents as pathetically disempowered. While Tony remains calm controlled and still his father appears agitated and continues screaming abuse as he can’t get into the bathroom. The framing of the shots contributes to this sense as does the mise en scene. We note that Tony is reading a novel by Sartre connoting his intelligence in a clear tidy space connoting his thought processes and behaviour while his father is framed impotently banging at the door in a medium shot which has clutter in the foreground connoting his lack of peace and control.
When we change scene to the kitchen Tony’s mother’s reaction shots to her husband’s extreme language and behaviour together with her more affectionate dialogue (‘sweetheart’) may create a more positive representation of a loving mother and a more concerned older generation but it should be noted that in this scene it is clear from the dialogue that she too is ignorant of her daughter’s whereabouts the previous evening, ‘she didn’t sleep well last night.’ Types of shot are used in this scene to create a futher senses of generational conflict as when Effie and Tony are shown calmly seated at the table to emphasise their solidarity. Costume continues to play a part in understanding characters and forming representations. Effie now is without make up and dressed immaculately in school uniform. Tony is dressed blandly and conservatively in khakis. This outer show of ‘respectable’ and ‘conventional’ behaviour is clearly just smokescreen to screen their true natures or identities from their ignorant parents.
When Tony leaves the house different stereotypical representations of younger people are presented. While the mise en scene of Tony’s room suggested control, as we cut to Sid’s room it is evident that he is far messier. The first shot, a transitional shot of the phone ringing in a soiled plate
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