Cheyenne-Media Studies Key Concepts

1. CHEYENNE BOTHA

2. MEANING
MEANING

3. meaning is made up of two parts: the
signifiers and the signified
MEANING
It is created through signifiers, which includes things
such as the mise-en-scene, sound and camerawork.
The Mise-en-scene encloses
everything on screen, and is
usually used to create
symbolic codes and convey
meaning to the audience.
The signifier is made up of two
parts, the denotation which is
directly linked and what we
actually see, and the connotation,
which is what that certain
scene/action/prop/movement
signifies, it is what we associate
with that image and the deeper
meaning behind what has just
happened on screen.
A symbol in a media piece is something (eg
character, event or object) that has more than
just the literal surface level meaning, and
represents something important and helps the
audience understand the meaning behind that
specific scene or event.
Always have a literal/concrete and
figurative/abstract meaning.
Symbols which have a previously agreed upon meaning are
normally called conventional symbols.

4. Stuart Hall
Reception Theory
PREFERRED
READING
A preferred reading
refers to the director's
intended message
being understood by
the audience.
NEGOTIATED READING
Understanding the preferred
message while also seeing the
message that might not have
portrayed purposefully.
OPPOSITIONAL READING
Opposing the original message that the
director intended, taking and
understanding it to mean something else,
normally with racist/sexist ideologies and
undertones.

5. The preferred reading is how Dove soap is refreshing, and has the
ability to 'clean' anything, although with the opposed reading an
audience might pick up on the racist undertones of the ad, how
(even if it wasn't intended) the message could be seen as the
company saying people of colour are dirty, and the epitome of
cleanliness is white; white clothes and white people and 'you'll
feel better if you're white'.
The preferred reading for the Nivea
ad is how the deodorant is successful
in preventing sweat stains and
keeping a person fresh throughout
the day.
When looking at in more in the
territory of opposed reading it could
be seen as having white supremacist
connotations, how similarly to the
Dove advert, it is the colour of purity
and those who are not are seen as
lesser than, something that needs to
be 'cleaned'.
Advertises the lingerie as comfortable,
made from good material that feels
good on your body, and anyone is able
to wear it, which is the preferred
reading. While on the other hand the
opposed reading could have an
audience viewing the ad as body
shaming as well as racist. The "perfect"
body is petite, skinny and light-skinned
with no external perceived flaws. It is a
harmful rhetoric which encourages
outdated stereotypes.

6. SYMBOLIC
SYMBOLIC
CODES
CODES

7. EXTERIOR
Exterior shots are used to set the scene, they allow the audience a
glimpse into the surrounding area as well as a way of orienting
themselves as they watch the scenes within the set play out.
The house being set far apart on the hill with a long staircase leading
up to it gives the audience a sense of detachment, the occupants
within are removed from the rest of society. The singular being
standing next to the house also gives the scene an eerie feel, only a
rough, blurry silhouette being shown makes it seem as though the
person is unknown to others, they are nothing but an unnoticed
shadow.
A sombre feel is also created through the use of darker, duller colours.
INTERIOR
While exteriors give the audience a location to orientate
themselves with, interiors show the inner workings of those
settings, taking place within a building or other structure.
They allow for a more personal look into the characters life.
The set up of the bedroom shows a character that is creative,
and sketches of clothes covering almost every wall lets the
audience know that whoever lives here is very invested in
fashion.
The state of the room (peeling wallpaper and ceiling) could
indicate someone that is not well off, and the singular
windows with bars across it could be a visual symbol of
imprisonment.
NATURAL
Natural settings are used to help establish the area a
particular film is set, this could be through
recognisable landmarks in nature to connect the
audience to the movie more, or be used to transport
the viewer into what seems like another universe
entirely. It gives the audience a way to connect
locations to events, or shows them the great expanse
of the world created within the media text.
The openness of the mountainous area of this scene
gives the audience an idea of the freedom the
character has.
SETTINGS:

8. LOCATION
A scene on a location, especially a
well known/famous location. gives the
a better understanding of the layout
and gives them a more immersive feel.
It also gives the media piece in
general an overall more realistic feel.
BACKDROP
Backdrops were usually used in older
movies or stage plays, since they may not
have been able to have something 'on
location' and the technology at the time
was not good enough to create a whole CGI
universe.
Throughout 'The Wizard of Oz', backdrops
are a reoccurring factor, allowing the movie
to seem more expansive rather than
combined to one single part of a studio. The
backdrop's detail add more realism, making
it seem as though the world actually has a
distance in it over being one flat picture.
STYLISED
Usually used in a fiction/fantasy
setting, with bright colours and
outrageous designs and
architecture, which lends to the
idea of the media piece being
otherworldly.
In this scene the use of red (the
colour associated with the Queen
of Hearts) contrasts with the gray
and brings more attention to the
colour, which parallels with her
bringing attention to herself and
believing herself to be the main
focus and different from the rest.
The colour red is normally
associated with that of blood,
which also supports the idea of
the queen being violent and
aggressive.

9. INCIDENTAL
OBJECTS
PROPS:
KEY
These are the types of
props that just happen
to be in the scene. They
are used to make
settings seem more
realistic, such as having
office supplies like pens,
papers and a stapler on
screen to show that this
is an office setting.
Props with a meaning. These have a purpose and
add to the overall plot. They are also most likely
reoccurring to highlight their importance even
more.
Objects are props
that could fall into
either incidental or
key category. This is
used to describe
overall props in the
scene, whether
they have
important or not.

10. MOTIFS
FOREGROUND
BACKGROUND
Mission Impossible III
The
Grand
Budapest
Hotel
Reoccurring prop
used in connection
to a certain
character/event.
One will not show
up without the
other.
Props that appear in the background, these could be incidental and used to
make the scene feel more realistic, or could alternatively be used to
foreshadow at a future event or hint at how it will come in useful later to those
in the audience paying keen attention to what's happening in the scene.
Props in the foreground are normally used to show the audience
that these are important, the camera being fully focused on them
again shows just how much of an important roles these props will
play in the near future of the media text.

12. COSTUME:
AUTHENTIC
STYLISED
COORDINATION
WITH SETTING
Dunkirk
Pose
Emma
These are used to make a scene seem more
natural.
Authentic costumes are used a lot in period
pieces in media, they add to the realism of a
piece.
Stylised costumes are
normally over the top
and flamboyant, used
to highlight certain
characters and make
a scene more
dramatic in a way.

13. MAKE-UP:
NATURALISTIC
EXPRESSIONISTIC
Expressionistic make-up
is normally used to make
a certain scene or
character's feeling more
accentuated, unlike
natural make-up it is
more exaggerated and
expressionist.
Such as in Rue's case in
Euphoria, she is a
character that struggles
with a lot of personal
issues (which could
explain the glitter taking
on the form of tears)
which is shown through
how her make-up is
slightly smudged.
Naturalistic make-up could also be considered
'invisible' make-up it is used to create a "flawless"
look for the camera while making the character
seem naturally beautiful (which can set unrealistic
beauty standards in society). A naturalistic look
does not take attention away from what is
happening in a scene, giving more focus to the
actions or dialogue without standing out.

14. LIGHTING:
LOW KEY
HIGH KEY
NATURAL
Normally used to make a scene feel more sinister and intense.
Used in ethereal scenes, make it seem intense or 'heavenly'
*need to finish
Natural lighting is used
to make scenes feel
more authentic and
realistic.

15. POSITIONING:
CENTER OF THE SCREEN
Character is important, the central
focus of the scene.
LOW
ANGLES
Makes a character
seem more powerful.
HIGH ANGLES
Used to make a character
seem less powerful and
more vulnerable.
SIDE VIEW
Only observing the
character, less involved and
less personal
FRONT VIEW
Makes the audience feel
more involved, connected
and invested in a character,
makes the shot feel more
personal.

16. BODY
LANGUAGE:
FACIAL
EXPRESSIONS
Non verbal, could be used to convey
feelings and thoughts when dialogue isn't
possible. Or if you're trying to show a
character has contrasting feelings to
what they say.
BODY
MOVEMENT
Body movement can be
used to show how
expressive a character is,
and in certain situations
their physical capabilities
(eg. a character having a
limp or very obvious
physical restriction.
GESTURES
Used to give certain words and phrases extra
emphasis, also shows how expressive a
character is which could give the audience
insight into their general behaviour and
personality.
POSTURE
Could be used to show how confident or
unsure a character feels, what they think
of themselves and how they hold
themselves in certain situations.
EYE CONTACT
More confident a character is the more eye
contact they'll make with others. Could be used to
show confidence, an intimidating character or a
character with something to hide through
avoiding eye contact.
SPACE
Spacing between characters could be
used to show the relationships
between them or how comfortable
they feel around each other.
TOUCH
Again shows the relationship between
characters, whether they care about each
other or not, as well as being used to
show how comfortable a certain
character is around others and how they
treat others depending on their
relationships and situations in scenes.

17. Clenched Fist
anger, annoyance
raised- sign of
solidarity, protest,
strength, unity
Raised
Eyebrows
nonverbal "yes",
romantic interest,
surprise, recognition
Crossed Arms
Crossed Ankles
uncomfortable,
stressed
self-protection, anger,
defensive
Clenched
teeth
tight-lipped
smile
Hunched
shoulders
Eye Rubbing
stressed, angry,
annoyed, fed up
defensive,
defeated
EXAMPLES
OF BODY
LANGUAGE
Arms behind back
raised- sign of
solidarity, protest,
strength, unity
Thumbs out of
pockets confident
Thumbs in pockets
uncomfortable,
stressed
Shoulders
back/standing
up straight
confident, self-assured

19. COLOUR
COLOUR
SYMBOLISM
SYMBOLISM

20. Dark blue:
Integrity, knowledge, power,
seriousness
Blue:
Peace, tranquility, calm, stability,
harmony, unity, confidence, trust,
loyalty, order, sky, water,
technology, depression.
Turquoise:
Calm
Green:
Nature, environment,
health, good luck, youth,
spring, fertility, jealousy,
envy
Lighter
Turquoise:
Feminine appeal

21. Red:
Excitement, passion, love,
desire, danger, blood,
violence, intense
Pink:
Love, romance, caring,
acceptance, calm
Purple:
Royalty, nobility, ceremony,
spirituality, mysterious, wisdom,
cruelty, honour, arrogance,
mourning
Yellow:
Happiness, hope, imagination, philosophy,
friendship, optimism, dishonesty,
cowardice, jealousy, hazard, betrayal
Orange:
Energy, balance, enthusiasm.
warmth, vibrant, expansive,
flamboyant

22. Silver:
Calm
Lavender:
Femininity,
grace,
elegance
Black:
Power, sexuality,
sophistication,
elegance,
anonymity,
sadness, anger,
remorse
Beige:
Calm, simplicity, unification,
quiet, pleasantness
White:
Reverence, purity,
simplicity, peace,
humility, innocence,
youth, winter,
sterility, clinical
Gray:
Security, reliability,
intelligence, modesty,
dignity, maturity,
practical, boring
Brown:
Earth, stability, home, outdoors,
reliability, comfort, endurance,
simplicity

23. EASTERN WORLD
Marriage:
White and pink
Happiness:
Red
Helpful:
Gray
Wealth:
Blue, gold
and purple
Eternity, family.
harmony, health.
peace, posterity:
Green
Children, helpful people,
marriage, mourning, peace,
purity, travel:
White
Strength, wealth, evil,
sadness:
Gold and black

25. WEATHER
WEATHER
SYMBOLISM
SYMBOLISM

26. SUN
Energy, positivity, life,
LIGHTNING
Weapon in mythology
Dramatic destruction
CLOUDS
Mystery, obscuring something,
sadness, moody
RAIN
Sadness, grief, new
beginnings
FOG/MIST
Mystery

27. NIGHT
Night time is normally associated with darkness, things done
under cover. It is a time filled with evil and danger.
Although on another hand something like a scene where two
characters walk together under the moonlight could be seen
as romantic and intimacy
MORNING
Mornings are usually seen as new beginnings,
a fresh start to something. Using these in a
media text could be symbolising to the
audience that a new 'chapter' of a character's
life is beginning or a new event is happening.

29. ANIMAL
ANIMAL
SYMBOLISM
SYMBOLISM

30. DOVE
Peace
Innocence
LAMB
Innocence
Child-like
LION
Powerful
Strong
Loud MOUSE
Quiet
Weak
*need to finish
CROW
Mystery,
Warning sign
DOG
Loyal
Wise
FOX
Deceit
Cunning
HORSE
Wisdom
Freedom
Strength
PEACOCK
Immortality
OWL
Patience
Wisdom
Knowledge

31. The clown makeup juxtaposes with the facial
expression, it could be that no one takes him seriously,
or a false smile, how he appears happy but his true
feelings are beneath his 'mask'.
The bloody nose hints at violence,
how he could have been in a fight.
The outfit contradicts with the setting. The
shade of yellow could have connotations of
sickness. The semi formalness of the outfit
contradicts with the setting.
The lighting is lowkey, making the
scene feel sinister as well as
melancholy/weary.
Symbolic Code Analysis
The overflowing trash and graffiti
covering the walls could be hinting
at this being a rundown
neighbourhood.
Pose seems performative/ staged.

33. TECHNICAL
TECHNICAL
CODES
CODES

34. Camera
shots/angles/movement:
Medium Long Shot Long Shot
Extreme Long Shot
High Angle Shot
Track
High angles make a character
seem lower than the audience,
putting them in a vulnerable
position.
Long shots are used to expose an
audience to a character's surrounding,
could be used as a way of making a
character seem isolated and alone (like
the example used above).
Like long shots, extreme long
shots have the same effect but
are used to highlight the great
expanse of the character's
world even more, making them
seem even smaller and more
insignificant.
Tracking shots are used to make a
scene seem more personal in a way,
revealing an event or setting to an
audience so they're seeing it at the
same pace as a character.
Medium long shots are used to mostly accommodate
large groups of characters where showcasing a full
setting isn't as necessary.

35. Establishing Shot
Establishes the scene, introducing the
surroundings so that the audience has a basic
idea of where everything will be taking place.
Extreme close-up
Like a close up it shows that whatever's in the shot is the
main focus, it brings full attention to the object/person
as well as showing intricate and important details that
might have been missed otherwise.
Close-up
Medium Close-up
Medium Shot
Used to show that a person/object is the main
focus in a scene. Normally used when
something significant or important has
happened.
Medium shots are nornally used with
characters, showing them and their
situation.
Medium close-ups have mostly the
same function as a medium shot, but
are just used to focus in on a
character or event even more to make
it clear to the audience that they are
important

36. Aerial Shot/Bird's Eye
Establishes the scene, introducing the
surroundings so that the audience has a basic
idea of where everything will be taking place.
Point Of View Shot
Over The Shoulder Shot
Low Angle Shot
Tilt
More personal, the audience is actually part of
the scene and the character, experiencing
things from their perspective.
Low angles make a character seen
bigger and more powerful
Allows the audience to orientate
themselves (showing that two
characters are actually in the same
scene having a conversation).
Tilts are normally used to disorientate,
they give off a sense of confusion and
unsettledness.

37. Pan
Crane
Shallow Focus
Deep Focus
camera movements can also be used to add to symbolic codes.
Dolly
Pans are used to reveal
events and characters
Shallow focus brings full
attention to the
character/object in the
foreground.
Deep focus is
when all
elements of a
scene/shot are
in focus.
Dollys are used in movement shots,
allowing a character's movements to be
easily tracked.
These are used in
dramatic shots,
used to capture
extreme emotion.

41. Continuity
Editing
Match on Action
This is an editing technique
where the editor cuts from one
shot to another while matching
the original shot's action.
Shot Reverse Shot
A filming technique where one character is filmed
before it cuts to another, which gives the audience a
sense of it happening in a continuous action.
Because they are shown facing opposite directions
in the same setting it is assumed that they are
looking at each other.
These often use over-the-shoulder shots.
Continuity Errors- These normally occur when you film
the same scene over different days, or certain scenes
have been refilmed and edited together.
180 Degree Rule
This helps the audience keep track of
where characters are positioned in a
scene.
A straight line or 180-degree angle is
established between two groups/people
facing each other in the same shot.
Jump cuts
An abrupt transition from one scene to
another. It is used to show a time jump or
change of location, as well as also being
used for an exciting visual effect.
Flashbacks
A short part of a film which goes back to
events in the past.
Continuous Shot
A continuous shot is one with a much
longer duration than a conventional
editing pace.

42. Storyboards:
A storyboard is
normally a hand
drawn sequence of
events, allowing a
director to pre-
visualise a media
piece.

43. Sound:
Diegetic
Diegetic sound is a sound that
originates from inside the film's
world.
It creates an immersive experience
and adds to realism.
Non-diegetic
This is a sound that characters
cannot hear.
Used for ambience or setting the
scene as well as giving the audience
extra information.
Sound bridge
Continues across the cross-cutting
of two scenes.
Dialogue
These are words and conversations
that characters have in scene.
Gives the audience insight into what
the characters are actually like, as
well as demonstrating relationships
between characters.
Asynchronous
Sound
Sound that is not synched up to
visuals (could also come from a
previous or the next scene).
This sort of sound takes away from
realism, or could add to a theme. It
also highlights the contrast between
different scenes.
Contrapuntal
Sound
This is a type of non-diegetic sound
which does not have the same
atmospheric tone as a scene.
It can highlight the atmosphere, add
hidden meaning or even make
something seem odd/bizarre and
somewhat unsettling for an
audience.
Sound Effects
Sounds which are not usually picked up
by cameras. They can be added by a
foley artist.
Highlight certain sounds while also
adding to the background/atmospheric
noise.
Sound Motif
A sound that reoccurs regularly
(normally in partner with a certain event
or character appearing).
This sort of sound technique adds
symbolic themes and foreshadowing.
Voice over
Someone talking/narrating over a
scene.
Direct Address
When a character talks directly to an
audience. It engages the audience
while making something seem more
comical.
Ambient Sound
This is sound that occurs naturally.
Gives a scene a sense of realism
and sets the scene.
Silence
These could be pauses/gaps in
music/ambient sound/dialogue.
Draws attention to the scene and
adds tension.
Volume
The general changes in sound, ie
something could be deliberately
muffled/lowered or be louder to add
excitement and drama.
Soundtrack/Score
This is music typically added over.
Sets the scene.
The difference between a soundtrack and
score is that a score is made specifically for
the movie/show, while a soundtrack is
usually popular music.

45. GENRE
GENRE

46. Horror
Setting-Abandoned places, isolated areas, forests.
Characters- Possessed, injured, innocent families,
teenagers.
Props- Poison, sharp weapons, symbols of naïve
innocence (child's toys)
Lighting- Lowkey, dim, lots of shadows.
Sound- Silence, orchestral score, motifs, sudden
changes in volume/tempo
Semantics
Action
Setting- Outdoors, travelling between countries.
Characters- Strong characters, stereotypically
male leads, aggressive, victim to be
rescued/avenged.
Props- Weapons, vehicles,
Lighting- Lowkey (depending), shadows,
Sound- Loud, lots of sound effects, disorienting,
motifs.
Comedy
Setting- Natural setting.
Characters- Loud, boisterous, could be seen as
caricatures.
Props- Natural and incidental.
Lighting- Highkey, bright,
Sound- Cheerful score, sound effects,
Romance
Setting- Natural setting.
Characters- Loud, boisterous, could be seen as
caricatures.
Props- Natural and incidental, letters, gifts, phone
Lighting- Bright,
Sound- Orchestral, romantic, dramatic
Sci-fi
Setting- Space, extraterrestrial planet, spaceship
Characters- Intellectual beings, aliens, robots,
Props- Advanced weapons (ie laser guns),
Lighting- Dim, bright (depending)
Sound- (sound effects)Zappy laser noises,
dramatic
Western
Setting- Deserts, old towns, historic places,
Characters- Cowboys, predominantly male lead,
Props- Natural and incidental, letters, gifts, phone
Lighting- Bright,
Sound- Orchestral, romantic, dramatic

47. Syntactics
Horror
Possessed belong/ building. New family move in
unaware.
Teenagers sneak into abandoned place and
delinquent activity ensues, provoking the anger of
some long forgotten demon/god/old man.
Serial killer.
Revenge.
Action
Rescuing someone from kidnappers.
Race against time
Stealing something back from thieves.
Good v. bad feud
Mission.
Revenge.
Comedy
Mistaken identity/understanding/situation.
Delinquent behaviour.
Stereotypes and satire.
Romance
High school/YA romance.
Person arrives in a new town meets local heart
throb.
Enemies to lovers trope.
Childhood best friends who realise they've been
the one for each other all along after almost 2
hours of wasting time who then become lovers
trope.
Sci-fi
Travelling to a new world and getting lost/
struggling to survive.
Time travel.
Saving humanity. (race against time)
Travelling across the galaxies in search of new
land/resources.
Intellectual scientists that seem to lose every
semblance of common sense the second the red
light starts flashing.
Western
Set in the past.
Saving the town from the evil sheriff
(or if sheriff is actually a decent human being)
then the newest character first introduced as a
helpful [insert typical out of town person job] who
is then revealed to be an outlaw.
Following a falsely accused outlaw on their
journey for justice.
Travelling across the country in search of
something.
Protection.
Revenge
Good v evil

48. Rick Altman
Genre Theory
Rick Altman believed that
genre is easily define
through the use of
semantics (physical
props/costumes/lighting/
etc) and syntactics
(common themes/ plots/
messages.
These mean that the
audience is able to clearly
identify the genre of a
film due to it's elements.

49. Barthe's 5
Narrative Codes
-Hermeneutic/'enigma' code: a
mysterious/unexplained occurrence in a text
that leaves the viewer/reader with questions
that need to be answered.
-Proairetic/'action' code: something
happening which suggests what will happen
next, sequential elements in a text that
create meaning behind the actions.
-Semantic code: How certain elements of a
text can carry deeper meaning
-Symbolic code: Describes anything that has
a symbolic meaning
-Cultural Code: Referring to how something
could mean one thing in one particular
setting and something else in another
depending on the context.

50. Todorov's
Narrative Theory
State of equilibrium
(everything is as it should
be)
Disruption to that
order (by an
event)
Recognition of that disruption
Attempt to repair the disruption.
Return/restoration to a new equilibrium
Linear
Example

51. Propps Character
Types
Hero
Saviour in the movie
Helper
Supports the hero (usually an
old man/magician)
Villain
Fights against the hero.
False Hero
Might have a character you first trust but
later betray that trust, may take credit for
the hero's work.
Donor
Gives the hero something
special to succeed.
Princess
needs saving/reward in the
end.
Princess' Father
Protective of the princess.

52. SCENE
SCENE
ANALYSIS
ANALYSIS

53. Joker Analysis
Chase Scene

54. The scene begins with introducing
the policemen on top of the staircase
with a low angle, clearly showing
who’s in power. These actors are also
easily identified as cops due to the
key props (badges) used, which
audiences will almost automatically
identify as some form of authority.
The director intentionally uses the
symbolic codes of props (such as the
identical masks) to add to the already
confusing and disorientating setting
of a moving train filled with people.
The masks also help to add to an
unsettling feeling throughout the
train scene, creating a sense of
dehumanisation and
depersonalisation. Having the
camera focus on the impersonal,
grinning faces also adds to the
element of detachedness throughout
the city, no one cares about anyone
besides themselves. It also adds to
the overall theme of deception and
concealment (which also matches
with how the Joker hides his real face
and feelings under a mask of face
paint) throughout ‘Joker’, while also
slightly playing into fears of those
afraid of clowns, making it an unusual
and uncomfortable situation.
The setting throughout gives the idea
of a rundown, decrepit
neighbourhood with rubbish bags
flowing into the street and almost
every available surface covered in
graffiti. This also lends into the idea of
Gotham not exactly being a pleasant
place, as most would associate such a
rundown place with a sense of
unsafeness and danger. The crowding
in the street and train along with the
amount of traffic also suggest at
overpopulation, which again most
audiences would associate with lower
communities in society’s ‘hierarchy’.
Again hinting at how the area could be
seen as unsafe is how unfazed people
are by the police chasing someone,
and how someone as absurdly
dressed and decorated as the joker
goes completely unnoticed by the
general public, either showing that
they’re used to such a seemingly
unnatural occurrence or are too
focused on themselves to
acknowledge the happenings of the
outside world around them, which yet
again lends credit to the idea of
detachedness and singularity
throughout the city, how no one cares
about anyone but themselves.
Another example of how self-absorbed
the general public are is seen in the fight
scene. No one gets involved until they
themselves are provoked or attacked,
with fights becoming vicious and more
people joining in, showing how mob
mentality, pent up aggression and simple
mistakes can have disastrous
consequences. The fight scene also
contrasts with the general disinterest of
the public, again furthering the idea of
how people will only get involved once it
directly concerns them.
The framing for the gunshot highlights
how this is a turning point in the scene. It
is centrally framed by the window in
shadows with the people in darkness so
that the flash of the gun brings full
attention to what has just happened, it is
a major event, and adds to the chaos and
pandemonium in the rest of the scene,
which also shows that while the civilians
may not totally care about each other,
they are also willing to band together in
the face of a common enemy, and with
the unkemptness of the city hinting at
how it is probably not that high on the list
of priorities for authorities, it is plain to
see why the policemen would be turned
on rather than supported in a situation
like this.
The lowkey lighting throughout builds a
sense of foreboding throughout the
scene. Chaotic camera angles and zooms
throughout the chase scene and
throughout the scene in general add to
the confusion and disorientation felt by
the characters themselves. It gives the
overall theme a chaotic feel, while also
showing how busy the city is.
The abandonment of the mask in the end
signifies how the joker has completely left
that situation, he has removed himself
and the identity he took on in that
moment, also highlights how he is in a
constant state of ‘mischievousness’,
others take off the masks and go back to
their normal lives, while he still has the
make-up on even after taking the mask
off.
The use of the cigarette gives the idea of
the joker being carefree, as normally
people would not be leisurely strolling
away lighting one during such a stressful
and violent situation.

55. Pose Analysis
Ballroom Scene
Through the constant use of the camera panning, it allows the director to show
the audience each characters expression ranging from serious and confident to
exasperated and worried. It also helps in revealing the rest of the scene,
showcasing what each character is doing and how they’re being represented.
The scene opens with a tracking shot, following the
character as she walks towards the other, zooming
in for a close up as they whisper to each other
highlights how something important is being
passed between them.
Costumes are stylized, they are flamboyant
and extravagant, making everyone the center
of attention when the camera pans to them.
In the shot with the Elektra pointing her finger, the camera tilts down,
making her appear bigger and stronger, showing her as a dominant
camera. The finger pointing towards the camera puts the audience at
the receiving end of her disdainfulness, making it feel more personal.
Levi-strauss’ binary opposites are used
throughout, one of the most prominent
examples being how the protagonist is
dressed in darker clothing while the
antagonist dons a flashy gold material, which
could be seen as hinting at her having the
upper hand.

56. Game of Thrones Analysis
Daenerys Targaryen and the Unsullied

57. When the scene first opens, it is clear that the director wants to
represent the female character as someone who is timid, weak and
vulnerable through camera positions, body language and the like.
For most of the beginning, high angles are used to make her
appear smaller, especially when she and the ‘Master’ come face to
face, with high angle shots over his shoulder highlighting the power
dynamic between them and the power he seems to hold over her
in that instance. The use of a translator accompanying her
character furthermore instills the idea of someone out of place and
foreign, leading to the first impressions of a gullible girl at a
disadvantage when it comes to everyone else there.
Through the use of sound, both within the scene as
dialogue/background noise/ the score, it is to be inferred that the
female lead and her group arriving are a major event, as
background characters begin to talk in hushed tones and stare in
awe. The female lead first speaks in short quiet tones, which
becomes harsher and more powerful once her true role is
revealed. The background chatter and score both quieten down as
the scene reaches a turning point, adding to the tension with the
occasional sound creating an unsettling atmosphere, and as power
is transferred it goes completely quiet before crescendoing and
building until it peaks with the fight, adding to the loud and
disorienting feeling in the action.
In regard to the colour schemes for each character’s costume,
which are both authentic in regards to the time period and
coordinated with the setting and place of the scene, both female
leads are shown in blue and white, which alludes to them being
trustworthy, loyal, wise and (in relation to stereotypical gender
roles) ‘pure’, while also links to the hint of innocence, especially in
the first few scenes of her introduction. Her and the translator are
accompanied by men in black armour which has connotations of
power which could also show them as her protectors/subordinates
as they follow behind. The use of black linking with power again
comes into play when the “Unsullied” army is revealed. The
Master’s green and yellow combination reveals his character to be
jealous, envious of those with anything rarer/ more powerful than
him as well as conceited.
The Master’s body language in the beginning is that of one that is relaxed and
confident, even the hands in his pockets clearly showing that he sees the lead
as no threat, he is not ready to defend himself as he does not expect an attack
of any sort. While upon first introduction the female lead is seen with
hunched shoulders and a stoic expression.
The female lead’s clenched fist while releasing the dragon shows she is
uncomfortable in this situation; she is trying to keep a hold on her anger.
Certain points of dialogue could be seen through the critical eye of Stuart
Hall’s Reception Theory, as the line “harm no child” could be taken as the lead
having a moral compass, showing how she believes in justice being served
righteously over a mindless slaughter of innocents, which could have been the
directors intentions and the preferred reading for the audience. While on
another hand when viewing it through an oppositional lens, it could be
showing her character as a somewhat sadistic person, with this being a power
play in her favour as killing the parents in front of the children would lead to
those children fearing her.
Another significant piece of dialogue uttered by the Master is “hold the whip”,
which highlights how power has been transferred, he is no longer in control
without even fully realizing it as he has been blinded by his greed from
acquiring the dragon.
Examples of Barthes’ Narrative codes can be found throughout the scene with
the most notable being the action code and the enigma code. The enigma
code is seen in terms of the dragon. How it is first brought along in a box
which most viewers may tend to skip over as being something insignificant
and inconsequential and how the box’s existence is only explained after the
reveal and release of the dragon.
In terms of the dragon, the director uses the characters reactions to it to
again highlight how the lead is still in control albeit subtly. She is shown
releasing the dragon and handling it with ease, while once she hands it over to
the Master his entire composure changes. He is straining and struggling to
keep the creature under control, which again shows just how much of a bond
and control the lead has with not only the dragon, but the rest of the people
too. The sound used for the dragons cries of distress upon being given to the
man show how interconnected the female lead is with these creatures.
The camera angles used in this scene also show how much power she holds,
using low angles to make her seem bigger.
Over the shoulder shots for the dragon also show that the director is trying to
make a clear point between the dragon and the Master, he is unable to control
the dragon, and the dragon is above him, putting it in a position of power.
Editing techniques such as the use of subtitles also help the audience
experience the transfer of power at the same time as the lead. First
having to rely on the translator like the rest of the characters, before
understanding the language themselves, and the importance of this is
how it again shows how powerful she is, and how the revelation that
she is not the naïve little girl the man in green views her as.
Another camera technique used by the director in one of the ending
shots is having her above the other two characters while being
silhouetted by the sun, hinting at how she’s now seen as a figure of
power, regardless of her gender and perceived smaller stature, which
also links into how she could be seen as challenging Propp’s traditional
character roles, she is not the stereotypical ‘princess’ character she was
first introduced, and the clear shot of her striding across to the Master
earlier in the scene shows her wearing pants, which again could be
seen as challenging the perceived role of women in that time.
The ending shot of her riding the horse between the ranks of Unsullied
again put her in a position of power, she is elevated above the rest, and
the stark whiteness of the horse contrasts with the sea of black armour
it is going through, which the director uses as a way to set her apart
from the rest of the people on screen.

58. REPRESENTATION
REPRESENTATION

59. adding once i've
finished it in class

60. AUDIENCE
AUDIENCE

61. adding once i've
finished it in class

63. CODE
SIGNS USED TO CREATE
MEANING IN A TEXT
DOMINANT
DOMINANT
DOMINANT
SIGNIFIER
SIGNIFIER
SIGNIFIER
SYMBOL
A SIGN OR IMAGE THAT
REPRESENTS AND IDEA
INDEX
SIGN THAT WORKS THROUGH A
RELATIONSHIP WITH AN
OBJECT/CONCEPT

64. C O N N O T A T I O N
C O N N O T A T I O N
C O N N O T A T I O N
T H E
T H E
T H E
A D D I T I O N A L / A S S O C I A T I V E
A D D I T I O N A L / A S S O C I A T I V E
A D D I T I O N A L / A S S O C I A T I V E
M E A N I N G
M E A N I N G
M E A N I N G
PARADIGM
PARADIGM
PARADIGM
POSSIBLE SIGNS THAT
POSSIBLE SIGNS THAT
POSSIBLE SIGNS THAT
COULD BE USED
COULD BE USED
COULD BE USED
SYNTAGM
SEQUENCES/STRUCTURES
THAT CREATE MEANING
signification
signification
signification
ideology
ideology
beliefs and values which are
beliefs and values which are
determined by a system of
determined by a system of
ideas
ideas