The document analyzes the representation of different ethnicities in the TV show Hotel Babylon through techniques like mise-en-scene, camera work, composition, and editing. It notes that all police and authority figures are white, suggesting they are seen as more trustworthy. Interactions between white detectives and characters of other ethnicities are filmed in a way that emphasizes the power dynamic, such as tracks that follow detectives authoritatively or shots that make them seem intimidating and overpowering. Framing and depth of field are used to metaphorically show the distance between races and make ethnic minorities seem trapped by white authority figures. Editing matches like eyeline and shot-reverse shot highlight the calmness of white characters compared to others

1. representation of different
ethnicity in hotel babylon.
by Mark Linskey ,
Ronan Lewsley
and
Ryan McGarry

2. QuickTime™ and a
decompressor
are needed to see this picture.

3. Mise en scene
uniform from other receptionists.
This could be used to show that
the white receptionist is superior to
the other ethnic receptionists.
• All policemen are white.This suggests that white people are
trusting and moral characters. however this image of the
police men is shattered when the 2 men go to arrest
Ibrahim.As at 2:59 as they handle Ibrahim in a rough and
aggressive manner.

4. • The white detective is seen as uncaring and ignorant.As he
compares his boss shouting at him to Ibrahim’s brother and
father being killed and Ibrahim also being killed.This also
shows the viewer the parallel between their cushioned life
in England to the life of hardships suffered by the immigrants.
This happens at 3:43.
MISE EN
SCENE

5. CamerA woRK
• at 0:28 it tracks the detective.This show his white authority
and the intensity of the situation.
• At 00:37 there is an over the shoulder shot.This represents
the detectives as being intimidating and overpowering.This
also empathizes that they are figures of importance within
the scene.
• At 3:22 the zoom highlights fear and anxiety as she is
worried that the ethnic minorities may be deported.

6. composition
• 1.24 - depth of field, the distance between certain
characters in the corridor as the other ethnic minorities
are trying to escape from the ‘superior’ white detectives. It
is also used to show the metaphorical distance between
races.
• 1.24 - framing, the use of framing behind the bars, shows
that the illegal immigrants of different race may feel
trapped by the pressure put on them from the white
authorities.

7. editing and representation
• 0.30 - Eyeline match, this is to highlight the ‘superior’ white
detectives approaching the front desk, to begin his search
for the ‘lesser’ ethnically diverse workers.
• 0.49 - Shot/Reverse shot, this highlights how calm and
collected the white receptionist is when talking to the
detective in comparison to the view of the members of staff
that are from ethnic groups that aren’t white.
• 1.45 - Fade out, the music fades to highlight the severity of
the situation as a character from an ethnic group is about to
realize that one of the illegal immigrants haven’t escaped the
authorities.

8. editing and representation
• 1.50 - Fade in, shows the loss of hope amongst the illegal
immigrants as they accept that one of their own is about to
be caught by authorities.