Bleak House Class and Social Status


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Bleak House Class and Social Status

  1. 1.
  2. 2. Scene 1<br />Terminology<br />Hyperbolic sound<br />- Exaggerated diegetic sound for dramatic emphasis <br />
  3. 3. Scene 2<br />
  4. 4. Scene 3<br />Terminology <br />Depth of Field<br /><ul><li>Refers to what is in focus in a shot
  5. 5. Large DoF = majority of the frame is in focus
  6. 6. Shallow DoF = Foreground only is in focus, background is out of focus</li></li></ul><li>
  7. 7. Scene 4<br />Terminology<br />Bridge<br />Here we have a ‘Sound Bridge’ of the Judge’s voice<br /><ul><li>A device that ‘bridges’ the transition between two scenes
  8. 8. Can be used to suggest some correlation/link between the two scenes</li></li></ul><li>Scene 5<br />Terminology<br />Whip Pan<br />- A extremely rapid pan that is sometimes used to merge one shot into another. Often accompanied by a ‘whoosh’ SFX<br />Terminology<br />Direct mode of address<br />Contrasting term: Indirect mode of address<br />
  9. 9. Flashback<br />Terminology<br />Shot Reverse Shot<br />
  10. 10. Scene 6<br />
  11. 11. Nemo<br />
  12. 12. Scene 7<br />
  13. 13. How is Bleak House a TV Drama?<br />A serial, multi-layered narrative – modern soap operas follow a similar pattern<br />A story concerning true identities, tragic deaths, murder and a missing will – such details are the staple fare of modern crime drama<br />Romances involving central characters – a common thread in contemporary dramas<br />Rich gallery of characters – some tragic Lady Dedlock/Nemo, some evil Mr Tulkinghorn, some good Esther, Ada, Rick, some comic Guppy – soap operas are abound in such characters<br />An exposure and critique of social ills – poverty, debt, class prejudice, lack of healthcare, injustice and inequality, corruption and abuse of power – all of these issues remain at the core of contemporary drama<br />An evocation of the atmosphere of life in London for both rich and poor using powerful descriptions of realistic settings and locations – much drama relies on a high level of realism<br />
  14. 14. Bleak House as a Soap Opera?<br />When it was aired, it consisted of 30 minute episodes, twice a week in the early evening – Like a soap. This went against the conventional approach of traditional costume dramas which are associated with tea-time Sunday scheduling<br />The editing of the programmes display separate scenes building up on one another helping to develop the narrative complexity: <br /><ul><li>Esther on the coach is followed by the Court scene
  15. 15. The two plot strands don’t immediately seem connected
  16. 16. Once we hear about a companion on her way to Court to join the wards of Jarndyce, and then cut back to Esther in the coach, matters make more sense</li></li></ul><li>Bleak House – Episode 2<br />Group 1 – Features of a Costume Drama<br />Group 2 – Count the number of scenes and come up with a summary of the different narrative strands<br />Group 3 – Innovative use of camera/editing<br />Group 4 – Representations of Class and Social Status and Gender – through performance (movement and speech), costume, hair and make-up, plotlines and camerawork (e.g. high/low angles...’more screen time’ than others in a scene = more important)<br />
  17. 17. Features of a Conventional Costume Drama<br />Period Costume and hairstyles<br />Appropriate settings and locations – based on a specific community, such as a town or village (large country houses, London slums, country estates, rural scenes, market towns and villages)<br />Period interiors (furniture, fittings, domestic equipment, paintings)<br />Depictions of different levels of society (upper classes, lower classes, landed aristocracy, self-made men, the poor and destitute, the criminal class, the professional class – lawyers, doctors...)<br />The arrival of a newcomer<br />External threats to the community from events of developments which will change lives forever (railways, medical progress, political upheavals, modernisations of all kind)<br />Relationships which defy class and age barriers (older, upper class male and the younger, lower class female)<br />Thwarted romantic relationships<br />Tragic deaths of all ages, classes and genders, by accident, illness or crime<br />
  18. 18. Half Term Essay Question – 1000 words minimum, typed<br />How does Bleak House conform to as well as break away from a conventional costume drama?<br /><ul><li>Conventions of the genre
  19. 19. Narrative/Plot/Characters
  20. 20. Mise-en-Scéne
  21. 21. Camerawork and Editing
  22. 22. Representations of Class and Social Status and Gender</li></li></ul><li>Half Term Essay Question – 1000 words minimum, typed<br />How does Bleak House conform to as well as break away from a conventional costume drama?<br /><ul><li>Conventions of the genre
  23. 23. Narrative/Plot/Characters
  24. 24. Mise-en-Scéne
  25. 25. Camerawork and Editing
  26. 26. Representations of Class and Social Status and Gender</li></li></ul><li>Technical Indicators of C and SS<br />Mise-En-Scéne Camerawork<br />Class and Social Status<br />Sound Editing<br />
  27. 27. Class and Social Status – Rome Series 1, Ep. 1<br />Caesar, one of the rulers of Rome<br />Octavian, his nephew<br />Vorenus – Officer in Roman Army<br />Pullo – A soldier in the army<br />