This is a clip from the UK Drama Hotel Babylon. I will be looking at different areas of media analysis and disecting inner meanings from the clip. The main areas of analysis I will be looking at are: Camera, Editing, Sound, and Mise en Scene.
The first shot of the scene is from the back entrance of the hotel where the audience see two police officers approaching a man wearing a suit who I assume to be a manager due to the formality of his outfit making him be perceived as respectable. There is little diagetic sound apart from the policeman saying "We're just here to stop anybody getting out". This creates tension and makes the audience nervous as they're wondering who will be trying to escape.
Furthermore the camera cuts to a complete new setting of a mid-close up shot of a receptionist dressed in white going about her day to day business. The shot is establishing as it highlights the change of rooms within the hotel. Her white outfit suggests she is innocent and also signifies how she is clueless to the police planning to raid the hotel. The shot then zooms in on her face. The low non-diagetic music creates tension as the audience are wondering whether the policemen will effect her daily routine.
Another policeman then opens the door for three men. Two of them wearing suits to display authority and the third who is walking slightly in front of the others is wearing a black blazer and a brown jumper. These neutral dull colours highlight how he is a blank canvas and puts no emotion in to his job. This possibly implies to the audience that he is somewhat reluctant to look for the immigrants.
The stern expression on his face displays how he's not one to be messed with and that he's here on a serious matter. The low non-diagetic music gets deeper and quickens slightly to create further tension.
When the men reach the receptionist desk she looks up and greets them like they were any other guest. This is to sway the attention from anybody else in the lobby. She simply says in a calm voice "Morning sir, everything alright?" She is keeping her innocent image intact but she now knows who they are and why they're in the hotel. The policeman introduces him self: "John Boyak, immigration." The quick cuts from the receptionist to the policeman not only emphasise the formality of their dialogue but the speed displays how neither are enjoying talking to each other.
Once the receptionist has discovered who he is she manages to alert one of the employees of the raid with a pre-arranged code. The camera cuts to Boyaks face which reveals a perplexed and frustrated expression as he knows what she's doing. However due to the reputation of the police he has to be polite.
The scene then cuts to 'Ben' racing downstairs to alert Jacky of the unexpected immigration call. The non-diagetic music speeds up to hight the panic and the pace in which he is moving. He arrives at Jackys office at the same time as the suited man from the beginning also trying to alert Jacky of the raid.
Jacky wearing a red and black suit signifies her characters personality as loving, compassionate and protective over the immigrants. The audience warm to her as they know that her job isn't easy and that if one of the immigrants gets caught the others will hold it against her as it's her responsibility to look after them.
When she hears the news she immediately rushes into the kitchen and shouts warnings in different dialects. The tone of the different languages adds to the tension as the pitch and pace changes and the panic and distress seems clearer. The non-diagetic music speeds up again and gets lower.
The fact that this shot is filmed through bars represents how the migrant workers are imprisoned and trapped, the hotel is already imprisoned. It also signifies their fate of being locked away if they get caught. The shot is edited to look slightly blurred which implies that the future of the immigrants isn't clear.
The close up of the lock emphasises how all the immigrants are always shut in somewhere. The diagetic sound of the click of the lock is made louder. The audience feel empathy for the immigrants as they know that they will never have the freedom they deserve.
Once safely locked in her office, Jacky does a head count of the immigrants, this is when they realise that Abraham is missing and that his fate is inevitably to get caught. The fact that he is in red signifies that he is in danger.
The other workers of the hotel pray for their own and Abrahams safety. One of them is diabetic and the stress causes her to go in to shock, she falls to the floor. The non-diagetic music gets lower and quicker as the panic rises again.
One of the other immigrants announces that he used to be a doctor and manages to revive her by rubbing jam on the inside of her gums so that the sugar was absorbed into her mouth and into her blood stream. Him doing this highlights how they all had previous lives and gives the audience a insight into what their lives used to be like.
Meanwhile upstairs Abraham gets caught my the police and is arrested immediately. He is then rushed to the lobby where he will be sent back to his country. The fact that he is wearing signifies the danger he is in.
Jacky is pleading with the policeman to let Abraham go. However he refuses saying he needs to take someone back as it is joke. He comes across as mean but his character still comes seems like a blank canvas.
The receptionist from the beginning asks Jacky to get rid of the rest of the immigrant workers as she feels they're giving the hotel a bad image. This is implies that her angelic, innocent image she was trying to obtain is fake as really she's just trying to keep the good name of the hotel going and not upset the guests.
Gavin and Stacey Video Blog Analysis
Different camera shots
Extreme close up
Peak Practice
Peak Practice is a British TV drama series about a GP Surgery that was on ITV from 1993-2002. It ran for 12 series, with anything from 6-20 episodes per series. The final series ended on a cliff hanger, this resulted in fans of the show petitioning for another final episode to made, however this never happened. The show was an on-going success and had regular audience figures of approximately 12.5 million viewers. In this essay I shall be focusing on one particular episode of Peak Practice and looking at how it conformed to the representation of social class and gender.
Throughout the whole clip the sound is diagetic, this highlights how there is enough drama within the clip for the producers and editors not to add any emphasis. It also signifies how the audience need to concentrate and can't get distracted by any catchy background music. The dialogue of the cvharacters is crucial throughout the clip especially between men and women as it highlights the gender representation. "if they really want something really interesting they would've asked for me." This indicates how the male doctor feels his qulaifications are more superior and respected compared to his female co-workers, even those they're assumed to be at the same level.
In the first scene in the doctors surgery it highlights the middle class status of the characters. They're both laughing and joking around which symbolises they're close relationship. It also symbolises how their relationship started at work and how the office is a significant setting for the. Furthermore in the bedroom where the couple are planning to decorate, the walls are blank, this signifies how teh house is a blank canvas to them. They're adding paint and their personal touch to make it their own. Moreover the bleak gloomy grey interior of the prison signifies how the prisoners lives are limited and controlled. The lack of colour symbolises how they're so restricted and can't express themselves. The grey clothing alson represent the prisoners loss of hope. The female doctor prescribing thte prisoners drugs in an unconventional role as she is likely to feel imidated byt he lower class drug addict, yet she uses her status, power and authority to remain calm even when he harrasses her.
The storyline is a restricted narrative because the main editing cut from shot to shot which helps the scenes to flow quickly. The audience know as much as the characters which makes the show more personal to the audience as they feel they can relate to what's appearing on screen and share the reactions of happiness, shock, surprise, disappointment etc with the character. The show can be used as a form of escapism for the audience as they can get lost in the lives of the caracters and forget their own. Throughout the clip there are hovering close ups over the characters which hihglights their importance and relevance to the scene. The long-shot of the prisoner signifies how he is distanced and far away from society.
In conclusion Peak Practice represent gender and social class with relevance to society and inforces expectations of day to day life.
The Cutting it extract:
Mise en scene: At the beginning of the scence the couple are in a black cab (which is an iconic signifier) suggesting that they have wealth and also are in London. The couple are sat next to each other in close proximity highlighting the class and intimacy of their relationship and its importance to them. The cab equals movement and reflects the couples relationship as they're unable to settle down due to the woman's possib;e terminal illness. The couple are dressed stylishly and the woman is wearing loosing fitting clothing to hihglight her need to hide her sercrets. She keeps her coat untied to emphasise that she doesn't want to eb confined. However at the end of the scene she ties up her coat effectively 'tying the know' to her relationship.
Camera: The estrablishing shot of the urban scene highlights the city location, and the furter shot of the black cab reveals they're in London. There is a close up of the wedding ring which highlights that they're married. The shot is never of the couple together, it always cuts from one medium close up to the other therefore this signifies how they may be better suited alone rather than together as well as the seriousness of the conversation.The scene is quite mysterious as he doesn't let her discuss anything serious making the audience curious as to why there is something wrong. There is then a wide shot of a street with a ambulance driving through from left to right as it leave the screen the taxi pulls up and the characters get out. The over the shoulder shot of the woman walking in to hospital leaving her inquisitive and confused husband behind her satisfies some of the confusion from the audience as we can gather that she's possibly ill. The next section cuts quickly between her in the consultant room and him anxiously waiting at a coffee table. Cuts to close up of the man smiling at his wedding ring which signifies how he's hoping for the best. Cut back in to the consultant room zooming in on the woman's tearful smile which implies that she's happy with the news. Cuts to a close up of the man looking up and he spots her coming towards him across the road. The camera tilts upwards as he gets up out of his then with a jump cut to his stunned face as the bus that had previously obscured her screeches to a halt. The slow motion shot of his PoV is a shot of another passing bus then when it moves she's laying on the floor.
Editing: The pace of the editing varies throughout the sequence. The slow opening shots establish the loving relationship between the two characters. The viewer is an impartial observer. Furthermore more attention is paid to the woman which implies that she holds most the importance in the clip and that she is key to the narrative enigma. When the cab draws up outside the hospital the audience are viewing the action from the kerb side. The edits are more frequent with increased intensity to her face as she stubbonly attends the appointment alone. This further highlights that she is in control of their relationship. The editing quickens up and becomes more emotive. The parallel editing compresses the time scale which is exaggerated by the non-diagetic music in the back ground adding tension to the scene. When the camera frames her face and focuses on her tears is ambiguous as even though she's smiling slightly she doesn't look convincingly happy which implies that it was possibly bad news. The fast cross-cutting of the final scene builds on the emotional impact. The slow motion shots are used to twice to increase tension and change the pace which prolongs the scene as the man watches the accident.
Doctor Who Case Study:
Doctor Who is a popular TV Drama that appeals to a wide audience of on average 8 million. It's time travelling adventures were first broadcast in 1963, taken off the air in 1989 but returning in 2005. It's audience being predominantly old fans yet it has captivated a secondary younger fan base.
The episode I am analysing is from series 2 and is called the "Tooth and Claw" and my analysis stars three minutes and fifty four seconds in. The scene starts from a birds eye view inside the 'Tardis' which has a retro-futuristic feel, the audience are looking down on Rose and the Doctor who appear to be in hysterics upside down. It's only till the camera tilts to their level do the audience realise that we looking down on them from a birds-eye view. They're completing another exciting journey through time and space, it's only when there is a dull thud do we know they've landed. However where they are hasn't yet been revealed which lives up to its conventional mysterious reputation. The familiar mise en scene to viewers is reassuring as although each episode is different the 'Tardis' remains homely and is almost comforting for the audience. The Doctor reveals that they've arrived in - "1979, a great year!" and then listing a series of great events from that year which will be received differently by the audience.
When they leave the 'Tardis' we see a two shot of the Doctor looking amused, which is explained by a shot of Scottish shoulders on horses in the middle of a moor, they;re pointing guns in the direction of Doctor and Rose. The Doctor says "1879" clearly amused by his mistake and then goes on to question whether they are in Scotland. Rose instantly puts on a exaggerated Scottish accent living up to the light-hearted humorous nature of the scene. The audience see the conversation through head and shoulder shots of the characters. The soldiers unresponsive attitude signifies how he is irritated bemused by the time travellers.
The soldier asks the Doctor to identify himself, this is a point of view shot, literally looking down the barrel of a gun. The Doctor continues to be jokey by making reference to 'Balamory' a show that younger viewers and connect to and will find amusing. The scene is then interrupted by a formal female English voice informing the soldier to let them "approach the carriage".
The cinematographer then cuts to a shot of a black carriage, with black horses and a footman dressed in black. This connotates the class and seriousness of the woman in the carriage. The Doctor and Rose approach the carriage under the queens instructions the audience see this from a slow track behind them. Rose is described as naked because her modern clothing wasn't acceptable back in that time, which will be conceived as unusual by a younger audience. However the Doctors slightly outdated attire will be seen as quite acceptable, as he is wearing his familiar suit.
The audience then see a head and shoulders shot of Queen Victoria which is humorous as it relates to the image on a stamp which highlights the familiarity of the royal family within the scene. Non-diagetic music is heard in the background creating a dream like state. The characters start discussing the future plot of the episode, which makes the narrative unrestricted for the audience as they know what's going to happen. The medium close ups cut from character to character depending on who is speaking and showing facial expressions of shock and horror when messages are received. The Queens status is reflected in her proud manner throughout the discussion whereas the Doctor remains playful and charismatic signifying how he's used to and comfortable with these scenarios.
Once the Queen instructs the footman to "drive on!" the cinematographer switches to a s slow track of Rose and the Doctor relating back the conversation.
Peer Assessment by Lauren Abbott: 10/20, 9/20, 5/10
Waterloo Road Analysis:
This is the clip we have chosen to analyse and re-make. It's from Waterloo Road a popular school based TV drama shown on BBC1. It deals with school based issues such as embarrassing situations and relationships. In this particular episode within the scene we've picked Bille is struggling with being a teen mother as she has a difficult relationship with her own parents. To resolve this she threatens to drop the baby over the stairwell.
The scene starts with a mid-closeup of a teacher about to walk through some double doors. The shot helps to establish the school environment. The teacher is wearing a suit which hihglights his status and class; although he is young it denotes his profession and prestige within the school. The following over the shoulder shot opens up the restricted story line and implies that he will be talking with the female teacher who just left a classroom leading onto the same corridor. As predicted he engages the teacher in conversation, the cross cutting helps the audience to interpret adn predict the plot judging by the teachers tone and facial expressions. The female teacher is wearing a colourful top and matching head band which implies that she is a light hearted character. However her severe tone relays that she is respected and possibly higher up than the male in the suit. "Any luck?" The urgency in her voice implies that they're looking for someone.
The panicked student interrupts with a moan of "It's all my fault" but before and reassurance can be offered the distant cry of a baby can be heard. The non-diagetic music quickens in pace to create tension and mystery. The speed of the shot quickens as the shoot over the shoulder and cutting to a panning shot of the teachers running towards the stiarwell. The shot tilts up and reveals a close up of Billie dangling a baby over the stairwell. Tears streaming down her face clearly highlighting her destress. "This is what you all wanted isn't it!?" She cries. The cinematographer then cuts to the audience below catching there horrified faces. The female teacher comes into view and in a panicked voice reassures her that "Nobody is trying to take your baby away." However before the teacher can say much more, Billies mother bursts in to the scene ordering that Billie gives the baby to her at once. This indicates that Billie feels conflicted in her role as a mother and that her decisions aren't trusted. It also relays that her mother doesn't support her significantly.
The baby is dressed in pick which denotes that it's a girl. The audience can hear the gasps of the students below as well as Billie's snivels as she's mentally battling with herself about what to do. The crowd below stand in shock anticipating her actions, as well as realising how much Billie suffering from being a young mother and not being able to cope with the responsibilites.
There is a series of quick cuts from Billie, to the baby and the people below trying to negotioate with and persuade Billie not to drop the baby. The cuts add to the tension and make the audience nervous as the baby's fate isn't clear.
The shot of the male teacher through the staircase making his face seem behind bars signifies how the crowd below are barred off from reaching out to Billie and that she has to make this decision on her own. However he offers his help; "Billie look at me, I know you might think we're all against you but we're not." (still shot through the bars) The shot cuts to Billie hokding the baby crying and she whispers "stop saying that" which signifies that she wishes her mother was the one offering assurance. She then shouts at him; "Shut up! Shut up! Shut up!" the repeated speech signifies her panic and loss for words as she struggles to make her decision. The shot cuts to a tilted down close up of one of Billies friends looking scared, this signifies how it effects other people and reflects the audiences reaction as they feel close to Billie throughout the series.
"Are you hearing voices?" The male teacher asks soothingly, still looking panicked yet maintaining a calm voice. The shot pans over to her mother dressed in green which has the connotations of health which is a oxymoron as clearly she has a unhealthy relationship with her daughter. When Billie admits to the voices in her head her mother looks horrified. "They're slagging me off! I love Libby." The shot zooms in on Billies face and then cuts to the baby's.
Monarch and the Glen:
In this clip of Monarch and the Glen I will be discussing the representational issue of age and gender.
The clip starts with an iconic establishing shot of a country scene, then quickly cutting to a group of male villagers who are loading various trucks, signifying how they live in a tight-knit community.
The shot then cuts and fades into a longshot of a girl coming out of a doorway. The non-diagetic music low and implies that she is trouble however this is conflicted by her yellow jumper which implies innocence. Amy calls out to Ewan who is sweeping; the camera pans to a mid-close up of him. Amy then says; "Ewan there is something I need to speak to you about." However before she can finish she gets interrupted by Paul who wants them to join and help the rest of the villagers, this is signified by his line; 'all hands on deck.' Paul then asks Amy to drive to town.
The shot then cuts to Amy inside the jeep looking worried as she mutters 'Is it clutch then accelerator or accelerator then clutch?" This signifies how she doesn't know how to drive. The cinematographer quickly pans to a mid-close up of Ewan watching her suspiciously. Amy manages to drive smoothly away, around the corner and out of the shot. The others continue to load the jeep until they her the diagetic sound of the screech of brakes and a crash. The character stop loading and rush in panic to help Amy.
The shot cuts to Amy getting out of the car unscathed and inspecting the damage, Meanwhile an elderly man dressed in a grey suit which portrays him in a sinister light gets out of the other car. "Amy Mcdermot I should've known..." The stranger addresses Amy with authority highlighting his power over her. The others look around in shock as they don't recognise the man. The man goes on to address Paul; " We found your address in Amy's locker... 16 year old girl!"
Ewan who was comforting Amy removes his arm from around her shoulders, the camera pans to his horrified face as he repeats the words "sixteen?!" This signifies that Amy has lied about her and that her age is cause for concern. This could've been what Amy wanted to tell Ewan earlier.
The cinematographer then cuts to a over-the-shoulder shot of Paul and the elderly man in the grey suit (Amy's headmaster). "Brandy wasn't it?" The choice of drink highlights the wealth and as age as legally only adults can drink. It also represents the male gender as it's rare for women to drink brandy. The headmaster informs Paul the Amy ran away and hasn't say her exams with a series of panning shots.
When Paul hears that Amy hasn't sat her exams he rushes out of the room to find Amy anxiously waiting by the staircase. They start arguing as Paul wants Amy to go back to school, the quick cross cutting builds up tension until it finally rests on Paul who sternly says; "I want you to leave by the time I get back!" This signifies how his age and gender hold authority over Amy as he is in control of the situation. Amy storms off shouting; "I hate you!" which signifies her immaturity and anger.
The shot cuts to a rainbow and a field with happy non-diegetic music which is ironic considering the previous scene. However the audience gain understanding when the shot cuts to a group of male villagers unloading trucks and lifting umbrellas. Paul is there with a shovel trying to dig up a old dock near the riverbed.
An older man approaches him and angrily says; "This is my land." Paul who had met the man halfway laughs and makes a sly comment before turning his back on the man. This is a signifying parallel of how he turned his back on Amy. It also represents his inconsideration for the older generation as they're commonly stereotyped as pushovers.
The cinematographers cuts back to Amy in her room leaving things on her bed. She leaves a teddy for Cameron, this is iconic as it signifies she's leaving her place of comfort. Her bed is red this connotates how the room was a place of love and shelter. Before Amy leaves the room she looks in to the mirror where photos are tacked. The camera zooms in one of her, Paul and Ewan, it lingers on the picture as we hear Amy walking away, this signifies how she is leaving them behind.
The final scene in the clip is of the blonde lady struggling to run to Paul before breathlessly gasping; "Amy's ran away!" The blonde woman is fairly elderly which highlights her lack of stamina, although her breathlessness could further highlight her vulnerability as a woman trying to cope with this stressful situation.
In conclusion Monarch of the Glen uses age to signify power. However I think it's important to note that both iconic authoritative characters were male ad rich, which further emphasised their power. This was highlighted in the tone used with Amy. As well as in the way Paul turned his back on the older man displaying lack of respect.
Prime Eval:
In this particular clip of Prime Eval I am going to be looking at the roles of the gender and whether they conform to the stereotypical expectations.
The girl dressed in black leather with a short pixie cut hairstyle defies the stereotypes as she is working the machinery. On the other hand the first men the audience see don't look strong and masculine, in fact one of them is wearing a pink shirt, underneath a waste-coat with a fashionable scarf and hat. This boyband-esque look only further highlights how gender roles have been turned on their heads.
Moreover the quick cuts from the mid-close up of the girl in the digger to the close up of the machinery unearthing the woodland floor add tension and a wave of curiosity over the audience as they wonder what they're looking for. The non-diegetic music further emphasises when something is found as it changes whilst panning to the reaction of 'the scientist'. The shot pans back to where Abbie was digging and zooms in to reveal a human hand.
"Woah! Abbie, STOP!" He shouts to signal for her to stop, this makes the audience wonder if they're vound what they were looking for. The diegetic sound of the digger engines being switched off put's the scene in silence. But it's quickly interrupted by a 'rawr', the point of view shots pans quickly around to see where the noise has come from. As Abbie starts the engine up again the non-diegetic backing track simultaneously begins this emphasises the excitement of the scene.
The camera speeds up to keep up with the running creature. The long-shot of 'the scientist' scrambling into Abbies pre-dug hole signifies the terror the creature is causing. The quick cut of the sabre tiger baring over the man further reduces his masculinity as the jump cut signifies how he is cowering in the corner. The shot jump cuts to a mid-close up of Abbie swinging the digger at the CGI tiger. She manages to distract it long enough for 'the scientist' to start running. He climbs a rope ladder towards a zipline. the end of the line is blurred to emphasise the distance he has to travel, it also foreshadows how their ending isn't clear.
He lands on a platform as the tiger is about to pounce, the diegetic sound of a gunshot echo's and the tiger falls off the platform. Despite all expectations of women being afraid of guns it was Abbit that fired it, this is highlighted by the quick shot of Abbie holding a gun.
The jump cut to 'the scientist' in the hole examining the previously found hand before another jumo cut to him walking towards Abbie saying "savaged, completely savaged." The shot quick cuts to introduce new characters. A man in a suit and a man in a pale shirt. They discuss the body and how they've been keeping a eye on the situation. Despite their difference in appearance the come across as a team.
The scene cuts to a low key lighted barn where a man and a woman are talking. The woman is wearing a low cut black dress and a white jacket, this signifies how on the outside she seems innocent and pure however her black dress foreshadow her evil plans. Despite the low key lighting she is edited to have a glow about her. She is trying to blackmail 'Mr West' into taking responsibility for something. He too comes across weaker and it's clear that her status is issuing her control. The cross-cutting displays the reactions of the two, 'Mr West' looking concerned and worried whilst the woman is calm.
"You're not breeding dogs to fight them?" at this point the shot pans to two allsation puppies laying in the hay. This reinforces the woman's power. "Admit the lion was yours adn I'll give you a few days to get rid of the dogs before I call the police...deal?" Despite what she's trying to do her voice has a tone of innocence about it. She appears to have won until "Mr West" turns pointing a gun at her. The close up on her face signifies both her fear and shock.
"Put the gun down, we both know you're not a violent man" she tries persuading soothing him (taking on a more womanly role as a carer) whilst backing away, he fires a warning shot at the floor causing the dogs to bark. He pushes her into the hay and intimidatingly leans over her reinforcing his masculinity and his state of power. There is a close up of the dogs barking in slow motion making them look vicious, which signifies the danger of the situation.
"Give me the gun" The shot passes to the man wearing the pale blue shirt, he too is pointing a gun only this one is at Mr West.
In conclusion I think that women are displayed as the more dominant sex in Prime Eval. However men will always hold the overall authority as signified by the end scene of conflict with Mr West.
Prime Eval:
I will be discussing the representational issue of gender in this extract from the popular TV drama 'Hustle' series 1.
The scene starts with an establishing shot of a well dresses blonde woman walking in to a high end clothes boutique. Her figure hugging suit implies how she will control the situation by using her style and body. The shot pans over to another woman who's slightly older looking at a dress. There is up-beat non-diagetic music playing in the background which cuts out quickly as the shop manager says in a well spoken voice; "A little too rich for madam?" The woman explains why she needs the dress but the male shop manager (wearing a black suit which highlights his heartless personality and greed) replies by saying "nice" in a condescending tone. Meanwhile in the background of the shot the audience can see the well dresses woman from before. The older woman leaves and the cinematographer cuts to a close up of the blonde woman's hand wearing a large expensive engagement ring.
The shop manager knowing now that she is rich offers his assistance. The shot reverse shot displays their conversation where she tells him what sort of dress she is looking for. The shop manager asks "Black?" and the blonde woman smiles as the shot is close up on her face and says "Naturally". The next shot is a close up of the camera tilting slowly up the womans body revealing the dress before zooming out to a over the shoulder shot revealing her expression in the mirror. The shop manager tells her that the dress costs £3000 the woman fiddles with her ring before saying "I'll take it." excitedly - money clearly isn't an issue. The cut to a close up of the dress being slowly put into a bag before the blonde realises her ring is missing. She starts looking for it in a panic which is emphasised by the quick pace non-diagetic pace and the panning of the camera. The music stops suddenly and the camera movement is controlled when the shop manager says; "can I make a suggestion?" This displays how he's trying to gain control of the situation by using his male authoritative status. He persuades her to leave the shop and that he shall find the ring and call her, she offers him a £5000 reward if he finds it. This action draws parallels to that of a damsel in distress and a reward for a hero.
A mid-close up of two men sitting at a bar once is well dressed in a grey suit to match his well spoken voice. The other is young and is clearly out of his league as he is wearing a plain black t-shirt and listening in awe to the older man telling him stories of previous hustles. The scene is calm and gives off the image of a granddad and his grandson as both seem fairly relaxed. The fact that they are in a bar is stereotypical to the male sex as it's common for them to go for a pint whereas girls are more likely to go out to lunch or to a cafe.
Cut.
Establishing shot of the shop manager looking for the ring. White and black shiny shoes appear next to him and the camera tilts up the man's body to reveal he is wearing a grey suit with a white open collared shirt. The shop manager remaining on his hands and knees looking for the ring foreshadows there power struggle as men over who will control the situations. The fact that the grey suited man is standing implies that he will win.
Cut.
Mid-close up of the two mean still talking over the previous 'Hustles' and how he needed a "crooked alarm technician...luckily I have contacts" Before the young man can comment he says; "Can I get you another?" which further heightens his control as he's the one that can afford the drinks.
Cut.
Mid shot of a man tampering with an alarm system whilst on the phone; "Just one more tweak" - the alarm goes off and the man says quickly "I'll call you back" then throwing the phone on the couch behind as the shot zooms in to a close up to highlight his concentration.
Cut.
The grey suited man from before continues looking at dresses informing the manager of a new girlfriend in a South London accent. According to Lakoff's theory of gendered language it is feminine to talk about feelings therefore is power and masculinity are challenged. The man slowly crouches removes a ring from his pocket identical to the on lost before; "someone lost her ring?" The manager bounds over and in a series of mid-shot reverse shots reveals the story of the blonde woman. The grey suited man makes reference to the term "finders keepers" trying to provoke the shop manager in to rewarding him, thus the power struggle has begun.
The grey suited man leaves his card and says tell the woman to call me. This draws parallels to how the woman left the shop , which displays the routine of the 'Hustle' team and how they're constantly in control.
The grey suited man turns to leave and is nearly at the staircase whispering; "3,2,1" - the audience can see the shop manager in the background as calls out; "no wait". There is a close up of the grey suited man as he turns and smiles at teh camera knowing he has won their power struggle. This acknowledgement of the audience is unusual in TV dramas yet it'll give them a further connection and feeling of involvement with the characters.
In conclusion in this clip of 'Hustle' I think women are highly sexualised a classic example being the tilt shot like eyes rolling up the blonde woman's body. Furthermore men overall did come out as more dominant as the male member of the Hustle team finished the last part of the scam. Men were also portrayed not afraid to get their hands dirty as signified by the technician. The further supports how the women in the clip were used for their looks rather then their skill.
