G325 Q1B: Applying Theories of Representation


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G325 Q1B: Applying Theories of Representation

  1. 1. Analyse media representations in one of your coursework productions. Our Opening Sequence subscribes to, as well as rejects, a number of representation theories. Primarily is the Laura Mulvey Theory that argues the dominant perspective is masculine. The female body in our Opening Sequence is heavily subjected to sexualisation by the camera. The two minutes include close-ups of her lips, eyes, hips and legs, as well as the medium shots of her body, and long shot of her leaving the house. She also wears very provocative clothing e.g. A short bodycon skirt and stiletto high heels. However, from one perspective our Opening Sequence is anti Mulvey’s Theory due to the fact that the aim was to convey the female protagonist as an attractive, possibly sexually experienced (Based on the panning shots of the “Fifty Shades of Grey” Trilogy and sexual innuendo make-up e.g. “Glow Job” moisturiser), and confident, rather than simply a sex object the male members of the audience can drool over, like Megan Fox’s role in “Transformers”. Our target audience was also teenage girls, mainly. As an extension, our Opening Sequence rejects Berger’s Theory that the "Men act and women appear. Men look at women. Women watch themselves being looked at." Our Opening Sequence doesn’t have any male characters present, and it is just the female protagonist present and acting. Male members of the audience may look at the protagonist; however, she is acting and not there as decoration, to be looked at. In terms of Dyer’s Theory, it can be applied to our Opening Sequence. Our plot line is hardly original and so, if told the film will be about a teenage girl, the audience will assume, by way of stereotypes, that she is attractive and will find love. Although our plot differentiates slightly in terms of the fact our protagonist is looking for revenge initially, she does find love and is presented as sexually attractive. However, our Opening Two Minutes also can apply Perkins’ Theory; regarding stereotyping isn’t always false and negative. Naomi is presented as sexually attractive and therefore also confident and subject to male attention, a compliment and positive trait in most females’ books. A lot of adolescent females are attractive and do prioritise appearance, perhaps not to the extremes to which Naomi is portrayed as doing, but her representation does hold some element of truth, roving Perkins’ Theory. Our Opening Sequence does subscribe to both Gramsci’s Hegemonic Theory and Althusser’s Theory’s regarding our representation of teenage females. We haven’t challenged the idea that females care primarily about their appearance, as our Opening Sequence is centred on our protagonist getting ready, nor the sexualisation of females by the media. In fact, our decisions with misé en scene disregard common sense and reality altogether in favour portraying our protagonist as highly sexualised and attractive e.g. The idea that a teenage girl would wear a pair of stilettos to meet a boy in the daytime is unrealistic, but furthers the idea that she has sex appeal. This fits in to the idea of Strinati’s Theory, that ultimately, it is too difficult to represent reality as it is easily mixed up with imaginary. It was easy for us to follow the simple, cliché storyline Romantic- Comedies follow, we were heavily influenced by “Legally Blonde” (Particularly regarding the Opening Two Minutes which is very similar), and the sexual characterisation of Naomi wasn’t original. However, on the other hand, the sexualisation by teenage girls is a reality, one we are accurately aware of as an audience, which could disprove, to some extent, that Strinati’s Theory is not entirely true of our Opening Sequence.