Thursday, 13 October 2011
Wednesday, 12 October 2011
Opening scenes- teen dramas.
I've chosen to look at the opening scenes for the teen dramas:
(click any of the list below to go to the clip I have chosen for that programme)
I chose to compare these three because each of the opening scenes in the clips that I found for Skins and The Inbetweeners have some quite similar film language used in the scene (such as similar mise-en-scene, location, camerawork etc). Whereas, E20 is quite different in regards to some of these aspects, even though it is still thought of to be part of the teen drama sub genre.
Mise-en-scene:
The mise-en-scene used for the opening scene of The Inbetweeners episode I have chosen, generally connotates that the main character involved in the this scene (Simon) is slightly immature and also connotates that he is a stereotypical teenage boy. For example, the props we see on the desk beside the bedroom door includes a computer, a tall pile of CD's, and deodorant. This communicates to the audience that this is a stereotypical teenage boy, because his room consists of stereotypical teenage boy objects. For example: deodorant - teenage boys are said to smell, CD's - a stereotypical teenager is said to listen to a lot of music, often used to block out the noise of the parents (which is similar to what Simon is doing during this scene, but using his voice to shout instead, which may reinforce this stereotype), and a computer - because teenagers (especially boys) are stereotypically thought to live in front of a screen. Props in this scene that make Simon appear immature include a small blue globe that young boys usually get bought, but some may say this is contrasted by the large piece of artwork on his wall. The costumes that the characters in this scene also convey immaturity, and support a typical teenage boy (Simon is seen wearing a t-shirt, hooded jacket, and jeans - all quite simple, conveys simplistic personality). The single bed also connotates immaturity, and maybe even suggest Simons lack of experience in sexual activity, which again adds to the humour because it contrasts the conversation his girlfriend has with him during this scene. The mise-en-scene in the opening scene of Skins also communicates to the audience that the main character of this episode (Pandora) is immature. This is mainly done by her costume - a baggy pink pyjama t-shirt, the colour pink connotates young girls. In this scene we see Pandora in Effy's bedroom, this again reinforces Pandora's immaturity because the miss-en-scene in the room is quite mature (such as the double bed), which contrasts Pandora's appearance.
The mise-en-scene in the opening scene of E20 is different to both of these because the first thing we see is the teenage characters wearing green jumpsuits, which says to the audience that she's involved in some kind of community service, which can be perceived as quite a mature thing to be taking part in. She also has her hair tied up, which suggests she's prepared to get stuck in and do some work. But this is then contrasted when the other two teenagers enter the scene with the prop of a large inflatable toy.
Narrative:
One of the similarities between the opening scenes of The Inbetweeners and Skins is that they both have some kind of help to understand what was going on, if for example someone has missed the previous episodes. The Inbetweeners has a commentary at the start of the episode, and Skins runs a 'previously on skins' clip. E20 doesn't have anything like this.
Another difference between the two opening scenes is the type of conversation the characters partake in during the scene. In E20 the conversation is focussed on helping the community, which is quite mature and sophisticated. Whereas the conversation in The Inbetweeners and Skins opening scenes were focussed on teenage love and sex, which is quite a stereotypical teenage topic.
Location:
The location in both The Inbetweeners and Skins is in a teenagers bedroom, whereas in opening scene of E20 is set in the street, which is less intimate so the audience doesn't feel as close a connection between themselves and the characters.
Sound:
The non diegetic sound in the opening scenes of both Skins and The Inbetweeners is music modern music which introduces the scene. E20 also introduces the scene with modern music but this music is faded into the scene to become diegetic.
Camerawork:
The very first shot we see in the opening scene in Skins is an arial shot which zooms into Pandora, which not only communicates to the audience that she is the main character for this episode but it also allows the audience to feel like their becoming closer to her not only in the distance of the shot but also in terms of relationship, which helps the audience to feel connected to the character. The Inbetweeners does this by starting the opening scene with a close up two shot of Simon and his girlfriend while their kissing. This again not only tells the audience that themselves and their relationship will be the focus the episode but also again allows the audience to understand and have more of a personal insight into their relationship.
E20 starts it's opening scene with lots of quickly cut establishing shots, and doesn't focus on anything or anyone for too long. So it differs from the first shots in Skins and The Inbetweeners because it doesn't immediately tell the audience which character will be the focus of the episode, and therefore doesn't allow the audience the build a closer relationship with this character in order to sympathise and understand their story further.
(click any of the list below to go to the clip I have chosen for that programme)
I chose to compare these three because each of the opening scenes in the clips that I found for Skins and The Inbetweeners have some quite similar film language used in the scene (such as similar mise-en-scene, location, camerawork etc). Whereas, E20 is quite different in regards to some of these aspects, even though it is still thought of to be part of the teen drama sub genre.
Mise-en-scene:
The mise-en-scene used for the opening scene of The Inbetweeners episode I have chosen, generally connotates that the main character involved in the this scene (Simon) is slightly immature and also connotates that he is a stereotypical teenage boy. For example, the props we see on the desk beside the bedroom door includes a computer, a tall pile of CD's, and deodorant. This communicates to the audience that this is a stereotypical teenage boy, because his room consists of stereotypical teenage boy objects. For example: deodorant - teenage boys are said to smell, CD's - a stereotypical teenager is said to listen to a lot of music, often used to block out the noise of the parents (which is similar to what Simon is doing during this scene, but using his voice to shout instead, which may reinforce this stereotype), and a computer - because teenagers (especially boys) are stereotypically thought to live in front of a screen. Props in this scene that make Simon appear immature include a small blue globe that young boys usually get bought, but some may say this is contrasted by the large piece of artwork on his wall. The costumes that the characters in this scene also convey immaturity, and support a typical teenage boy (Simon is seen wearing a t-shirt, hooded jacket, and jeans - all quite simple, conveys simplistic personality). The single bed also connotates immaturity, and maybe even suggest Simons lack of experience in sexual activity, which again adds to the humour because it contrasts the conversation his girlfriend has with him during this scene. The mise-en-scene in the opening scene of Skins also communicates to the audience that the main character of this episode (Pandora) is immature. This is mainly done by her costume - a baggy pink pyjama t-shirt, the colour pink connotates young girls. In this scene we see Pandora in Effy's bedroom, this again reinforces Pandora's immaturity because the miss-en-scene in the room is quite mature (such as the double bed), which contrasts Pandora's appearance.
The mise-en-scene in the opening scene of E20 is different to both of these because the first thing we see is the teenage characters wearing green jumpsuits, which says to the audience that she's involved in some kind of community service, which can be perceived as quite a mature thing to be taking part in. She also has her hair tied up, which suggests she's prepared to get stuck in and do some work. But this is then contrasted when the other two teenagers enter the scene with the prop of a large inflatable toy.
Narrative:
One of the similarities between the opening scenes of The Inbetweeners and Skins is that they both have some kind of help to understand what was going on, if for example someone has missed the previous episodes. The Inbetweeners has a commentary at the start of the episode, and Skins runs a 'previously on skins' clip. E20 doesn't have anything like this.
Another difference between the two opening scenes is the type of conversation the characters partake in during the scene. In E20 the conversation is focussed on helping the community, which is quite mature and sophisticated. Whereas the conversation in The Inbetweeners and Skins opening scenes were focussed on teenage love and sex, which is quite a stereotypical teenage topic.
Location:
The location in both The Inbetweeners and Skins is in a teenagers bedroom, whereas in opening scene of E20 is set in the street, which is less intimate so the audience doesn't feel as close a connection between themselves and the characters.
Sound:
The non diegetic sound in the opening scenes of both Skins and The Inbetweeners is music modern music which introduces the scene. E20 also introduces the scene with modern music but this music is faded into the scene to become diegetic.
Camerawork:
The very first shot we see in the opening scene in Skins is an arial shot which zooms into Pandora, which not only communicates to the audience that she is the main character for this episode but it also allows the audience to feel like their becoming closer to her not only in the distance of the shot but also in terms of relationship, which helps the audience to feel connected to the character. The Inbetweeners does this by starting the opening scene with a close up two shot of Simon and his girlfriend while their kissing. This again not only tells the audience that themselves and their relationship will be the focus the episode but also again allows the audience to understand and have more of a personal insight into their relationship.
E20 starts it's opening scene with lots of quickly cut establishing shots, and doesn't focus on anything or anyone for too long. So it differs from the first shots in Skins and The Inbetweeners because it doesn't immediately tell the audience which character will be the focus of the episode, and therefore doesn't allow the audience the build a closer relationship with this character in order to sympathise and understand their story further.
Thursday, 6 October 2011
Archie and Janine take over the Queen Vic.
This clip shows Archie Mitchell and Janine Butcher taking over the Queen Vic pub, during one christmas episode on tv soap drama - Eastenders.
This clip starts with a close up, establishing shot of the Mitchellls sign that used to hang above the pub door. This is an establishing shot because it is no longer above the door, meaning they are no longer the owners/landlords. The camera then tilts up to show peggy walk into the room for what the audience assumes is the last time. The tilt up is important to the scene because it allows the audience to see all of her costume. Her costume is important for the audience to see, because all though she's getting thrown out on the streets on christmas, she's still determined to keep her glamourous image (fur coat, sequin top etc). This is because the audience is watching her being stripped of everything she has (the pub being a huge aspect of her image) and because of her strong character she has to connotate and appear to everyone else that everything is fine, and she's still the same Peggy Mitchell everyone respects, knows, and loves.
The next shot is one that includes the christmas tree, this again contrasts the happy occasion of christmas with the sad reality that they're getting thrown out of their home. It also makes the audience feel like because the camera is almost hidden behind the tree, that we're getting a secret insight into a private, emotional and significant moment of the characters life- which increases the audiences sympathy. Peggy then turns off the lights which connotates that it's the end off her and the Queen Vic. It's very important that the audience saw her turn off the light as she is not only an iconic character, but she was the landlady and is strongly associated by the audience with the Queen Vic pub.
Towards the end of this clip, we can hear both diegetic and non diegetic sound. Examples of the diegetic sound we can hear are mumbled voices in the background, speech, and music faintly in the distance. This music slowly builds up in volume, until the end, when it becomes non diegetic sound. The song being played it very ironic 'have a very mary christmas' as this is a happy song, and the Mitchells clearly aren't going to have a very happy christmas this year.
This clip shows Archie Mitchell and Janine Butcher taking over the Queen Vic pub, during one christmas episode on tv soap drama - Eastenders.
This clip starts with a close up, establishing shot of the Mitchellls sign that used to hang above the pub door. This is an establishing shot because it is no longer above the door, meaning they are no longer the owners/landlords. The camera then tilts up to show peggy walk into the room for what the audience assumes is the last time. The tilt up is important to the scene because it allows the audience to see all of her costume. Her costume is important for the audience to see, because all though she's getting thrown out on the streets on christmas, she's still determined to keep her glamourous image (fur coat, sequin top etc). This is because the audience is watching her being stripped of everything she has (the pub being a huge aspect of her image) and because of her strong character she has to connotate and appear to everyone else that everything is fine, and she's still the same Peggy Mitchell everyone respects, knows, and loves.
The next shot is one that includes the christmas tree, this again contrasts the happy occasion of christmas with the sad reality that they're getting thrown out of their home. It also makes the audience feel like because the camera is almost hidden behind the tree, that we're getting a secret insight into a private, emotional and significant moment of the characters life- which increases the audiences sympathy. Peggy then turns off the lights which connotates that it's the end off her and the Queen Vic. It's very important that the audience saw her turn off the light as she is not only an iconic character, but she was the landlady and is strongly associated by the audience with the Queen Vic pub.
Towards the end of this clip, we can hear both diegetic and non diegetic sound. Examples of the diegetic sound we can hear are mumbled voices in the background, speech, and music faintly in the distance. This music slowly builds up in volume, until the end, when it becomes non diegetic sound. The song being played it very ironic 'have a very mary christmas' as this is a happy song, and the Mitchells clearly aren't going to have a very happy christmas this year.
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