This document analyzes the representation of ethnicity in the film Hotel Babylon through various film techniques. It discusses how parallel editing, close-up shots, panning, tilts, fast-paced cuts, eye-line matches, and ending clips are used to emphasize the differences between ethnic groups and the power dynamics between hotel staff and migrants. The film techniques portray the migrants as vulnerable and hidden, in contrast to the professional staff, and show tensions that exist both between and within ethnic groups in the hotel.

1. Representation of
Ethnicity
Hotel Babylon

2. Contrast in lobby and
back of hotel✦ Parallel editing between front and back of hotel
emphasizes the costumes and set design. E.g the
workers in the lobby are wearing suits whilst the
workers in the back are wearing causal work
clothes.
✦ In the room, the woman in charge stood out against
the workers as it was more professional.
✦ Parallel editing between Abraham and rest of
migrants emphasized the difference is sound. This
showed how hidden the migrants were.

3. Close-up shots
✦ High-angle shots between the slits of the
elevator, producing a prison image
✦ The close-ups in the room conveys
claustrophobia, creating more a prison
atmosphere, contrasting to the spacious
area in the front.
✦ ‘Staff Only’ close-up on door of small room.
It emphasized how the small room was a
form of protection for the migrants.

4. Panning
✦ The panning across the kitchen was at a
high speed and seemed out of control. This
emphasized the panic and chaos of the
situation they were in.
✦ Panning across the room where the
migrants were eating was able to
emphasize the different mannerisms
between the ethnicities e.g. the Russian
people and the African people.

5. Tilts
✦ The tilt shot at 3:04 down to the vacuum
after Abraham has been taken away shows
an inactive appliance. It emphasized how
his presence is required and how he is a
hard-working, important member of staff.
✦ It is placing a positive migrant on Abraham
as a migrant.

6. Fast-paced cuts
✦ The fast-paced cut from 1:24 to 1:26
presents an edging danger. It shows that
although the people are running further
away from the danger, it is still getting
closer towards them. This emphasized the
power of the Officer and the vulnerability of
the migrants.

7. Eye-Line Match
✦ The eye-line match at 0:50 is able to show
the Immigration Officers has picked up on
the code between the two staff members. It
shows that this is typical behavior in this
situation. He has power through his
knowledge, further making the immigrants
look vulnerable, and him as superior.

8. Ending Clips✦ In the end, we see through a pan shot that
the white migrant people sit at one table
and the black migrant people at another
table.
✦ The white people seem to be relaxed and
comfortable whilst the black people are
distraught and praying, probably for
Abraham.
✦ This shows that racial tension exits even
between the migrants, though they are
united by the common fear of the

9. ✦ This shows the power of the migrants
officer, as he brings the ethnicity together.

10. Locker Shots
✦ In the end, we see a mid-shot 5 of the staff
members. The manager is closer to the
camera than the other staff members,
creating a range of positions that upset
about Abraham’s locker being cleared up.
✦ It shows a range of respect for ethnicity in
the hotel.

11. Eye-line shot
✦ There is an eye-line shot where two of the
migrants are looking at the manager.
✦ It creates a sense of tension between the
different positions within the hotel.
✦ It is suggesting the anger of the workers as
they may be angry at the fact that more
could’ve been done.
✦ This relates back to when the manager says,
‘He’ll be fine’ about Abraham. This exposes
complacency and could insinuate lack of
protection for the migrants.