Representation of race in 'The Bill'

The use of editing in this extract of ‘The Bill’ presents the idea that in multicultural societies, though racism does occur, there can be equality, especially in official environments such as the police station while still being aware of and acknowledging the races of others. This is mainly conveyed through the juxtaposition and sequencing of camera shots together displaying interactions between characters of varying racial backgrounds.

The editing of shots together in the main interviewing sequence also presents the view of the law enforcement as an accepting area, and the support of equality between races. The scene begins with a close up of the Asian girl and her father, whose turban is an example of the mise-en-scene being used to clearly display racial and religious background. She is in the foreground, displaying the focus of attention on during the interview. This shot is alternated with an opposing shot of the two police officers. The shots, though of opposite sides and presenting different levels of authority, are equally levelled and therefore convey a form of impartiality towards race. The focus appears to be around the dynamic of the police officers and the girl being interviewed, even though the dialogue is discussing race.

The sequencing of the shots in the beginning of this extract juxtaposes the different positioning of the characters. An Asian young woman is positioned lower than the two police officers, which establishes her as in less of a position of authority. However, the following longer shot with more natural movement shows her standing and moving between the police officers, conveying her confidence while discussing her race. As panning, rather than cutting is used from the Asian girl to the female police officer, who is also Asian, with the white male character positioned between them, this could signify that he is unwilling to be involved. This is supported by the fact that he only speaks when the Asian girl being questioned leaves the room. This could present the idea that the two Asian female characters may be more comfortable communicating with each other; a possible suggestion that we relate to those of the same race to us a greater extent.

However, the introduction of a series of short over the shoulder shots between the Asian girl and the white male police officer become more fast paced, building the intensity of the debate between them. This creates a focus on the conflict between the two characters of different races as only they are in frame in these shots. However, the end of their argument is followed by a close up and positive reaction shot of the Asian female police officer and the pace of the shots slows again, staying on the Asian girls face as the man states that he doesn’t “do racism.” Though the girl is still visibly annoyed, the decrease in the pace of shots after their conflict reflects her acceptance that it is an equal environment.

The sound of the Asian girl’s dialogue describing racism that she has suffered is overlaid on a close up shot panning towards the Asian police officer. This clearly displays her reaction as sympathetic to the girl and the focus on her character suggests that she may relate to the girl’s situation. The juxtaposition of two close ups displaying the police officers looking to the side at each other while the white male officer says “interracial harmony” could demonstrate their acknowledgment of the difference in their races but also their continued acceptance and the equality between each other. However, it could alternatively and less positively display the separation felt between each other due to prejudice based on race, as two separate shots are used consecutively rather than one, more unified shot of them both framed together.

In conclusion, while the Asian girl in this extract frequently discusses racial prejudice, the white male character dismisses these claims, which is supported by the use of alternating shots of all characters on an equal levelled positioning. However, as the white male character is displayed as an authoritative presence (for example ending the argument successfully), his views towards race are generally presented as correct, even though his perspective may be affected by his white privilege and the white normative societal view.

Representation of gender in Prime Suspect

Gender is a major theme in the British television show ‘Prime Suspect’, due to the strong female protagonist and her conflict with a variety of male characters in the male dominated environment of the law enforcement profession. In this extract, the use of camera movements, shots and mise-en-scene present this opposition in gender.

The camera movement and shots in the extract present Helen Mirren’s character’s struggle to be promoted in a male favoured occupation. It begins with an over the shoulder shot facing Mirren’s male superior colleague from a similar point of view as her character, displaying the authority the man has over her and the contrast between their professional roles. This leads into a series of close up shots, presenting her response to his refusal to promote her or listen to her ‘women’s rights issues’. These shots display the man as the leader of the dialogue and the more powerful figure, as they cause the audience to focus on her reaction to his rebuke. The following medium long shot displaying her empty seat at the man’s desk signifies her forced submission to the patriarchal structure of her career path, enforcing the close up shot’s display of the passive female role in contrast with the active male role.

The subsequent scene is in contrast as a whole with the previous, presenting two men at a desk in an office. The exchange is similar but the use of a static medium long shot rather than the unstable exchange of close ups implies a greater level of equality, most probably due to the lack of discrimination against males despite the different levels of professional authority. The shot is also slightly angled to the left, presenting the characters as more open and equal in comparison to the previous over the shoulder shots.

The mise-en-scene also gives the implication of the male controlled environment through the use of colours. The office is coloured with bleak browns and blues, which are colours associated with masculinity. Similarly, the positioning and posture of the characters are more relaxed and informal than when the female character was present, who is never mentioned by name. Their use of “her” implies that they prejudicially consider her representative of her gender in a form of discriminatory depersonalisation of her as an individual.

Camera shots are also used in another scene to display the gender imbalance toward men. A medium shot pans across a room of employees, the movement presenting a total lack of female presence, indicating that it is a prejudiced environment. This is in strong contrast with the previous scene, in which the camera tracks Mirren in a medium shot with the mise-en-scene displaying the word ‘Commander’ on the door she exits. The juxtaposition of this with her celebration implies her gain in power, while the movement of the camera is largely in contrast with previous scenes with static shots of males. This signifies her progress and success in subverting the gender binary roles displayed in her career.

A close up of Mirren’s face when reacting to a female murder victim shows her typically female-associated emotional response to an upsetting image. It implies that she, as a female, empathises with the murdered woman, a reaction that is not displayed by any male character, highlighting their differences. However, her show of emotion is quickly suppressed, implying that she feels she must display masculine traits to succeed in this field. The over the shoulder shots used when she interacts with another female employee parallels her exchange with her male colleagues. The mise-en-scene supports this masculine imitation; both female characters dress in a masculine manner and have short unfeminine, hair.

In conclusion, contrasting uses of camera movements and shots in accordance with opposing genders and the use of male associated features of the mise-en-scene all contribute to the representation of the repression of women in the character’s vocation.

Ethnicity representation in Spooks

The camera movements in this scene are used to depict the contrast between the ethnicity of the Iraqi man and the two British captives, who the audience is threatened by and in support of, respectively.

 The scene begins with a crane shot, establishing the situation that the characters are in and presenting the Iraqi man, who is standing while the others sit, as in total control. This implies that he is a threat, which is supported by the use of similar shots when focussing on the British captives, indicating that they are of the same ethnicity. A panning shot follows the Iraqi, signifying his dominance and the attention being given to him by the captives, with the implication that the camera is showing their point of view.

Another demonstration of the Iraqi man’s power is the upward tilt shot used after he shows the captives the photograph of the dead agent. It emphasises his height over the British agents and therefore his authority.

As all of these shots add to his depiction as a threat in a situation that is dangerous to the sympathetic British characters, the representation of his ethnicity is intimidating and overall fairly negative. However, his dialogue does question whether the British agents are really moral, conflicting with the shots used to display his power.

Luther - Scene Analysis

In this scene of Luther, a British psychological crime drama following a detective, the protagonist is presented as in total control of the situation while he threatens another man over the telephone through the use of camera movements.

The camera first focusses on the character Ian. It is never stationary, giving the scene a shaky yet more realistic quality. This could signify the character’s nervousness and fear over the situation he is in, as a steady camera would give the implication of a more stable and confident state. When the camera cuts to Luther there is far less movement from the camera, signifying that he has more control and is less frightened than the man he begins to threaten.

A panning shot follows Luther as he walks away, meaning that the audience’s attention follows him. This indicates that he is a significant and powerful character. The panning continues as he enters the crowd, implying that he is gaining anonymity within it. This creates tension in the audience as well as the other character, as it supports his threat of an unanticipated and shocking attack.

A stationary shot tilted downwards to Luther on the escalator might signify insignificance as it downplays his height, though in this context it could also relate to his required secrecy after making a criminal threat. An upward tilt shot follows this, signifying power, and another stationary shot tilted down then shows Luther rising up the escalator. These shots juxtaposed connote the gain in power Luther is experiencing, as he is gaining height and elevation.

The scene finishes with a close up of Ian’s face, displaying his strong reaction of fear and panic, supporting the message of Luther achieving control.

Doctor Who - Annotations on how gender is represented through mise-en-scene

This is a screenshot taken from Doctor Who, the popular family science fiction show, in which the character the Master gives a speech while his wife looks on.

Both of the characters in this image are dressed formally, though the woman, with long styled blonde hair and fairly bright makeup, appears more elegant. Her dress is bright red connoting passion and power, which is supported by the height of her position at the top of the stairs, above the man. The pink lighting that shines on her from the right could signify her position as a desired or loved object to the man. Though her height and straight, confident posture indicates that she is in control of the situation, her expression is nervous, while the man appears more relaxed and assertive. Despite his slightly more scruffy appearance and lower positioning to hers, it is clear that he is dominant to her. Her placement behind the railing supports the idea that she could be more of a decorative that he has put on display than an equal.

The setting appears to be a modern building, perhaps an office. The lighting is bright and unnatural which relates to the science fiction symbols on the wall behind the characters. The futuristic and elaborate design of the setting implies that it is a significant place, and the male character must be highly significant if he is in charge of it, while the women is perhaps more aside from the position of power.

Overall, the mise-en-scene of this image represents the man as highly authoritative and commanding, especially through his clothes, posture and positioning. The woman, however, is represented as more nervous and a subordinate to him, placed in the scene as a figurehead.