Under the Skin booklet - a guide, workbook and text book for A-Level film studies for Eduqas/WJEC

Film Studies A-le
UNDER THE SKIN
Component 1: Varieties of film and filmmaking
Section C: British Film since 1995 (two film study)

You will answer on two British films made since 1995, namely MOON (Dir. Jones) 2009 and
UNDER THE SKIN (Dir. Glazer) 2013.
The focus for these questions is on the following core areas:
• the key elements of film form – cinematography (including lighting), editing, sound, mise-en-
scène, performance;
• meaning and response: how films function as both a medium of representation and as an
aesthetic medium and
• the contexts of film: social, cultural, political, historical and institutional, including
production.
• NARRATIVE: how story is told through the plot and how a variety of film form examples
contributes the audience understanding of and reaction to, narrative.
A typical question for these films would be:
”How useful has an ideological critical approach been in understanding the
narrative resolution of your chosen films?”
Elements of this question...
‘How useful’ – this you need to be critical and exploratory in your answer: aim to find an
answer or viewpoint quickly and establish this at the start of your answer. This will allow you to
then explore the idea in the question in a cohesive and expressive manner.
‘ideological’ – an ideology is a system of ideas and ideals, one which helps to form a wider
theory or basis for approach, often in terms politics or economics. You need to consider what
ideology you think the film is seeking to ‘promote’ and/or how your chosen ideology fits into
this film.
‘critical approach’’ – A critical approach to a film allows you to explore and analyse a text
from a specific viewpoint, analysing how the narrative can be discussed and analysed through
a specific framework. This question asks you to apply your chosen ideology to explore the film
in a critical manner.
‘in understanding – the expectation is that you will, of course, understand what happened in
the film. However, what this is really asking is what ‘deeper meaning’ or interpretation did you
derive from the film. Essentially, this asks you to explore what the message of the film is and
how well you understood this based on the other aspects of the question.
‘narrative resolution– here you need to be mindful that this is likely to be the aspect of the
question that will change and likely substitute different narrative techniques, theories or
approaches, signalling the importance for the need of understanding narrative in precise and
accurate detail.
Section C: British Film since 1995 (two film study)

An advised approach
o Before you start, sketch out a plan for your argument and/or your ideological approach.
o Choose the most relevant scenes for the narrative aspect of the question, but ensure that
they are ones that you know very well and can analyse and apply to your ideological
approach.
o Decide on a few points for each scene, shot or moment of the narrative that will show how
your chosen approach creates meaning and understanding. If you’re struggling for points
then you’ve picked the wrong scene.
o Get your points and chosen scenes into a good order. It might be that you look at the
scenes in the order they are in the film or you might build up to the most meaningful scene.
o Don’t start until you have a secure plan and a core argument because the great essay won’t
emerge as you’re writing it.
o Make sure that the response is persuasive. Whilst you’re not writing a ‘persuasive‘ essay,
your ideas need to stand out as being well-written, well-observed and well-researched; an
original and interesting argument will allow you to do this.
Some final tips
ü Name directors and their intentions, eg. Glazer shows us…
ü Smart students often remember the names of people other than the director, Landin’s slow
tracking shot… (he is the cinematographer)
ü Examiners like students who correctly use the technical terms, see the example above.
ü Refer to characters by their names, not the actor’s name and where they are the same, define
this early on in your essay.
ü Avoid using ‘you’. Eg. When you see this you think that … This is clumsy expression, refer to the
audience or we, when we see… etc.
ü It is perfectly acceptable to suggest meaning rather than insist that x means y. You are studying
complex films so verbs like suggest, implies and denotes are key to showing that this is your
interpretation and modal verbs like ‘could’ and ‘perhaps’ allow you to explore ideas without
trying to claim that your idea is definitive.
ü Make sure ideas are supported by relevant examples from your chosen scenes. Don’t refer to a
scene unless it helps to prove your point.
ü Re-read your work before submitting it. Any unclear idea is likely to be ignored by examiners,
they won’t spend time organising it for you or trying to guess what on earth you mean.
ü And finally…spelling and punctuation, even capital letters for names. Don’t let silly errors
distract from the work you are presenting.
Now, re-read this and refer to it for any practice essays and revision.

Finally, the focus of this section is on narrative. To this end, this means that the following areas will
need to be considered, learned and studied, especially in relation to UNDER THE SKIN, as any of
these could be the focus of an exam question.
• how narrative construction reflects plot and expresses temporal duration and ellipsis
• narrative devices including voiceover, flashback, the framing narrative, the open
ending, repetition and other forms of narrative patterning
• how the dramatic qualities of a sequence or scene are constructed, including through
dialogue
• how narrative construction provides psychological insight into character
• ambiguity in narrative including the ambiguous relationship between cause and effect
and uncertainty over character identification
• how narrative construction is used to align the spectator and how that alignment
encourages the adoption of a particular spectator point of view
• the significance of narrative structures which are alternative to and/or in opposition to
conventional narrative structures, particularly in regard to experimental film
• film poetics: what elements of film filmmakers select and how they combine them to
create meaning
• the relationship between the screenplay and the realised film narrative
• narrative conventions of mainstream screenwriting, including the construction of
dialogue, character and the use of images and sound to convey narrative.
This booklet is intended as a guide through the study of the film, incorporating the following focus
areas:
• A contextual analysis of the film exploring: the history of the film, its production contexts
and the social, political, cultural and historical contexts that surround the film;
• core analysis including the key elements of film form: cinematography, mise-en-scène,
editing, sound and performance;
• key scene analysis guidance/questions and
• a sample essay questions and guidance for answering.

UNDER THE SKIN is a divisive, elusive and challenging text. It is unlike anything else on our course
and as a result offers an interesting experience and opportunity to engage with something that will
challenge, provoke and perhaps enrage. It is also a beautiful film; textured and dense, slow and
considerate, with a phenomenal score and a keen eye for the provocative.
“By the time this alien begins to see humans as more than specimens, UNDER THE SKIN has allowed
us to view ourselves with fresh eyes. Johansson is phenomenal in every sense of the word. She joins
Glazer in creating a brave experiment in cinema that richly rewards the demands it makes. The result
is an amazement, a film of beauty and shocking gravity.” – Peter Travers, Rolling Stone.
The often wildly different reactions can be shown through these two selected quotes from respected film
critics Peter Travers and Todd McCarthy.
“Viewers willing to embrace a purely visual experience without dramatic, emotional or psychological
substance will comprise an ardent cheering section, but the film provides too little for even relatively
adventurous specialized audiences to latch on to, spelling a very limited commercial life.” – Todd
McCarthy, Hollywood Reporter
This range of reactions makes for an engaging film as a text for analysis. The opportunity to
explore a film that has not been universally lauded or successful makes this film stand out from our film
course thus far, and allows the audience to appreciate the range of spectators’ reactions. It’s also
challenging in that it has long sections without dialogue, dramatic yet ambiguous imagery and a
notoriously slow pace at times: this is not an easy watch. But beneath the surface lies a film with a
fascinating approach to narrative and audience expectation-this is a film designed to force an audience
to engage and therefore drawing a response derived from a clear personal interaction. It’s somewhat
ambiguous nature also means that it’s ripe for exploration of meaning, theme and ideological
approaches, making it perfect for this component.
As we will discover, Scarlett Johansson’s involvement in the project is especially interesting and marks
the first of our ‘core’ films that features an ‘A-list’ Hollywood star. Given that this is a very popular
genre, this could create certain expectations of the audience, so UNDER THE SKIN is a rich text for
exploring how our expectation of a film and the possible narrative conventions of it can be challenged
through the creative decisions of filmmakers. As we explore the narrative of the film, consider how and
why the film operates as a story and what techniques are used (or not!) to facilitate generating
meaning from the story.
Finally, as a sci-fi film, it offers a sharp contrast to the classic approach to the gene from MOON and
will therefore push the horizons of the viewer as to what to expect from both a film and a British film,
but also a sci-fi film.
RATIONALE: Why study UNDER THE SKIN?
The film is "Under the Skin," the trippiest in any
genre in a long while and a genuinely
experimental and haunting study of strangers in a
strange land. British director Jonathan Glazer
("Sexy Beast," "Birth") and co-writer Walter
Campbell have taken the Michael Faber novel,
stripped it for parts and ventured their own way.
Michael Phillips, Chicago Tribune, April 10th
, 2014

Scarlett
Johansson as
“Laura”/ “The Female”
Directed by
Jonathan Glazer
Produced by
James Wilson
Nick Wechsler
Screenplay by
Walter Campbell Jonathan Glazer
Based on
Under the Skin
by Michel Faber
Starring
Scarlett Johansson
Music by
Mica Levi
Cinematography
Daniel Landin
Edited by
Paul Watts
Production company
BFI
Film4
Distributed by
StudioCanal (UK)
A24 (US)
Release date
29 August 2013 (Telluride)
14 March 2014 (UK)
4 April 2014 (US)
Running time
108 minutes
Country
United Kingdom
United States
Switzerland
Language
English
Budget
£8 million
UNDER THE SKIN FACTFILE
Adam Pearson as
The Disfigured Man
Jeremy
McWilliams as
The Bad Man
Krystoff Hadek as
The Swimmer

• What is a sci-fi film?
• What examples of sci-fi films can you name, which are ones you enjoy and why?
• What connotations do you have with the phrase ‘under the skin’? How might that influence
your possible expectation of the film, especially as a sci-fi film?
• What are your expectations because of this is a ‘British’ sci-fi film, especially one starring a
Hollywood A-lister?
• This film has a very interesting production history (see below). Do you think knowing some
details of the production of a film is useful or do you feel that it hinders your viewing
experience, especially in the first viewing.
• Who is Scarlett Johansson? What films has she starred in and what roles/performances is
she known for?
• Make 3 predictions about the narrative of UNDER THE SKIN based on our initial
discussions.
•
•
•
INITIAL TASKS

Director Jonathan Glazer decided to adapt Michel Faber's novel Under the Skin (2000) after finishing
his debut film Sexy Beast (2000), but work did not begin until he had finished his second film, Birth
(2004). Glazer's producer Jim Wilson sent him a script that closely adapted the novel; Glazer admired
the script but had no interest in filming it, saying: "I knew then that I absolutely didn't want to film the
book. But I still wanted to make the book a film."
Glazer and cowriter Milo Addica, later replaced by Walter Campbell, spent several
years writing and rewriting the story. They initially conceived an elaborate high-
budget film, and produced a script about two aliens disguised as husband-and-wife
farmers. Brad Pitt was cast as the husband, but progress was slow. Glazer eventually
decided to make a film that represented an alien perspective of the human world and
focused only on the female character. He and Campbell deleted every scene in their
script that did not involve her and removed the elaborate special effects sequences, a
process Glazer likened to "a big, extravagant rock band turning into PJ Harvey."
Glazer shot commercials while the film was in preproduction, which he used to "sketch" ideas and test
equipment.
Gemma Arterton, Eva Green, January Jones, Abbie Cornish and Olivia Wilde were considered for the
lead. In 2015, Arterton stated that she had been Glazer's first choice but the film had needed a bigger
star to get funding. The role went to Scarlett Johansson, who remained committed to the project for
four years before it reached completion. For the role she learnt to drive a van and mimic an English
accent.
Johansson was well known for her roles in blockbuster films such
as the Marvel Cinematic Universe franchise. Glazer said: "It made
a great deal of sense to cast somebody very well-known out of
context. I remember seeing her walking along the street in a pink
jumper on a long lens and she looks like an exotic insect on the
wrong continent."
As Glazer wanted the film to feel realistic, most characters were
played by non-actors; many scenes where Johansson's character picks up men were unscripted
conversations with men on the street filmed with hidden cameras. Glazer said the men were "talked
through what extremes they would have to go to if they agreed to take part in the film once they
understood what we were doing."
Championship motorcycle road racer Jeremy McWilliams was
cast as the motorcyclist, as the film required a "world-class"
motorcyclist who could ride through the Scottish Highlands at
high speeds in bad weather. The logger was played by the
owner of a location researched for the film. For the man with
disfigurement, Glazer did not want to use prosthetics. To cast the
role, the production team contacted the charity Changing Faces,
PRODUCTION HISTORY

which supports people with facial disfigurements. The role went to Adam Pearson, who has
neurofibromatosis and had worked in television production. Pearson's suggestions about how
Johansson's character could lure his character were used in the script.
Under the Skin was jointly financed by Film4 Productions, the British Film
Institute, Scottish Screen, Silver Reel, and FilmNation Entertainment. Glazer
secured final backing after cutting the elaborate special effects scenes from
the script. The crew built their own cameras to shoot some scenes. To create
the black room in which the character traps men, the crew built a bespoke set
with a reflective floor, blackout, and custom lighting. The actors were filmed
walking into a pool whose floor sank as they walked, submerging them. The
scenes were finished with computer graphics.
TASK:
Research Film4 and list some of their most famous films:
Include some important details for their most famous/well-known films and why you think they were
successful.
Explore and note the idea as of Film4 as producer, distributer and exhibitor. Research any examples of
any films where all three have been handled by Film4 and consider why this might not happen often.
Looking at the research compiled above, explain why Film4 might have been the natural place for
UNDER THE SKIN to have been developed and supported.
How important and why, do you think the casting of Scarlett Johansson was to the making and marketing
of the film?

Premiering at Telluride Film Festival on August 2013, UNDER THE SKIN
made its widespread release in the UK and Ireland on 14 March 2014.
Typical of a low/mid-budget film, especially one with a complex visual and
narrative style, this fiercely independent film played in many film festivals,
including Venice, Toronto and New York. In doing so, it built a reputation
amongst film critics as a film worth watching, helping to build word of mouth
and general interest. Scarlett Johansson’s involvement also undoubtedly
helped with the marketing of the film: as a Hollywood megastar, her
involvement in such a small and ambitious British film drew attention, perhaps
helping to increase the box office take but at the very least helped to bring a
general attention to a film which would otherwise be a somewhat niche film
with a limited release. As with many films with a restricted budget and the
product of a small, independent producer, the release of UNDER THE SKIN into cinemas was limited
by the sheer number of copies (prints) of the film that the distribution company felt would be most
suitable or possibly even afford. By producing a limited number of copies of the film, this restricts the
number of cinemas and screens that can show the film at the same time and therefore places a
potential limit on how well the film might do at the Box Office. However, given the nature of the film in
terms of story and overall style the possible audience size was perhaps always limited and therefore it
would make little sense to produce thousands of copies for an audience that may not actually be
waiting for the release of the film in the first place. instead, word of mouth is key and, in this respect,
the use of film festivals and limited release is very powerful as it allow critics to pass their persuasive
judgements and build a sense of anticipation for the film, thereby creating an appetite for the film. The
release pattern for UNDER THE SKIN matches this practise: the film was available for a short period in
one location (UK and Ireland) and then afterwards is then available to another area or country, with
those original prints now able to be used elsewhere.
TASK:
Research the release pattern for UNDER THE SKIN and evaluate how and release structure, taking into
consideration counties the film was released into, the order of the release, how film festivals may have
helped and been scheduled into the overall pattern and how language also has to be considered.
It’s fair to say that the positive word of mouth from the cinema-going public perhaps never materialised
for the film: UNDER THE SKIN is a divisive film. When it played at Venice Film Festival the closing
credits were met with boos, but was also described as “far and away as the best picture in the
competition” by Guardian film critic Xan Brooks. Overall, critical reaction to the film was largely very
positive. It has a very positive 84% aggregate score on Rotten Tomatoes, with reviews from over 200
hundred critics. However, it has a much lower audience score of 55% based on over 25,000 ratings.
Clearly, there is a significant difference between what critics thought and what audiences felt.
DISCUSSION TASK:
Why? What reasons could there be specifically for professional film critics watching the film compared
with a film fan watching? Consider the production and exhibition details when looking to draw
conclusions.
RELEASE AND CRITICAL RECEPTION

Some of the critical praise was very effusive, often leading with Johansson’s performance “Johansson
is nothing short of iconic here; a femme fatale in the film noir tradition, down to the plump red lips
and deep fur coat, but with a refrigerated nothingness at her core” and “Johansson is extraordinary”.
Common points of praise often commented on the striking and unique visual style, especially in relation
to the ‘alien’ scenes, shot in the bright white or dark black box. In fact, Glazer’s
direction in general was widely praised, with Mark Cousins describing the film as
a “masterpiece”, Robbie Collin said that it was “an astonishing film takes you to a
place where the everyday becomes suddenly strange, and fear and seduction
become one and the same” with plenty of positives given for his unwavering
personal approach, even if at the expense of the pace and overt exposition in the
film. Indeed, the film was nominated for a slew of awards, including Best Picture at
the London Film Festival, BAFTAs and British Independent Film Awards and whilst
not winning in many of the ‘major’ categories, the
beguiling, innovative and chilling score won a number
of ‘Best Original Score’ awards for composer Mica
Levi.
However, the film was not a financial success, and audience reaction was
very mixed, if not generally negative. Made for a reported £8m / $13m
budget, the film struggled at the cinema and its Box Office take was less
than $5.7m worldwide by the end of its theatrical run. Despite a marketing
campaign that heavily lent on the critical praise of the film, the film
struggled to win over audiences but even across the internet, audience
reaction is wildly mixed. Responses on Rotten Tomatoes are generally brief, very negative and often
referring to the oblique nature of the narrative. Reviews on Letterboxd, are (perhaps to be expected)
generally much more positive and willing to explore the nuance in the film. Either way, it’s clear that
despite Jonathan Glazer’s unwavering vision for the film, audiences, and some critics, did not feel that
his film was something with which they could connect with and found the film to be a difficult watch.
TASK:
An interesting approach to this film, exploring it via the lens of gender, was so inherent to the story that
reviewers and viewers quickly began to refer to this and explored the subject from the earliest reviews.
Below are a series of links and highlights from some reviews that explore gender. Read the full reviews
and note how the writers do not all agree about how the film portrays women.
In what ways do they disagree?
Why is Under the Skin more difficult to agree on when discussing gender representations?
https://rebeccahussein.com/2014/04/12/some-thoughts-on-under-the-skin/
https://www.theguardian.com/film/2014/mar/15/scarlett-johansson-under- skin-extraterrestrial
http://www.deletionscifi.org/episodes/episode-9/alienating-the-gaze-the- hybrid-femme-fataleof-under-
the-skin/
http://queersforfeminism.tumblr.com/post/89903463219/under-the-skin-the- abject-becomespost-
feminist

RESEARCH TASK:
Find a critically valuable review of UNDER THE SKIN (intelligent and detailed!) and print it out or
copy and paste below/onto another document. Annotate the review highlighting views on film
technique / aesthetics / representations of gender or age / references to social, historical or
political contexts as well as anything else that you might find interesting. Be prepared to share
with the rest of the class.

SOCIAL
There is no doubt debates around gender, gender identity
and ethnicity are prevalent in this film. These are especially
the case when considering feminism, queer identity, the
‘femme fatale’ and the role of complex social structures, in
part in because of the questions about the representation of
Britishness. Johansson’s character by way of her accent at
least, are very English, but we also see other stereotypically
negative representations of Scottishness in the film, apparently reflecting hegemonic power
relationships in the British Isles. We also see different and counter-typical representations of
Scotland in the film that help to both create a sense of the real, and recognisable social situations,
but in doing so the film is also seeking to make clear just how unique or out of place The
Female/The Alien/Laura is. The film may have been, perhaps in part, filmed in Scotland for
production reasons relating to finance, but there’s no real doubt that the film would be a very
different proposition were it not for the recognisable and
somewhat negative portrayal of Glasgow and the
citizens of the city. The use of Scottish highlands also uses
the role of interesting social stereotypes and expectations
to manipulate both our understanding of
The Female’s change in motivation in the film but also
helps to further develop the theme of social constructs of
family and the role of men and women in society.
HISTORICAL
In some ways, this film’s aesthetic and ideological concerns as a sci-fi film
are a throwback to the 1960s/70s in its use of stylistic visual influences from
Roeg (and thematically with THE MAN WHO FELL TO EARTH) and Kubrick.
The use of Scotland and its people, particularly in the intimate way in which
they are filmed, draws on the socio-realism of filmmakers like Loach. It also
shares concerns with alienation and identity that were especially prevalent
in the 60s and 70s, but exploring the relevancy of these concerns in the
postmodern world of social media and identity politics, allows for a
fascinating and relevant approach. The role of The Alien/The Female in this
film ties in with a long line of horror films with a ‘femme fatale’, though
perhaps a more accurate nomenclature would be that of
the ‘monstrous feminine’. There are also visual ties to the
historical abuse of women, with UNDER THE SKIN flipping
the gender roles, but using iconography such as the white
van to make links with, for example, infamous cases of
murders of sex workers and vulnerable women and in
Britain by working class, white men such as Peter Sutcliffe,
Fred West and Steve Wright.
CONTEXT

POLITICAL
Gender politics and sexual identity issues are at the heart of
this film. Feminist debates about the representation of
Johansson’s character have centred around the idea of female
objectification and power. As in many other horror films or
films with a femme fatale, ‘The Alien’ is objectified despite any
innate fear we may have of her. Of course, this representation
differs across the running time of the film, with the first half of the film considering The Alien more
of a predator, and the second half more of a victim. As a result, some feminist readings have seen
the film as an exploration of what it is to become a woman in the post-feminist world, whilst others
have seen the film as a confirmation of Barbara Creed’s ‘Monstrous Feminine’ arguments. Also to
be considered are Mulvey’s theory on The Male Gaze (and the Female Gaze) and Carol Clover’s
thesis on the ‘final girl’. On a wider perspective, consider how gender is used to ‘sell’ a film
theatrically and indeed sell a film to a production company-note the details in the PRODUCTION
DETAILS section above regarding the casting of Scarlett Johansson.
TECHNOLOGICAL
The use of digital effects is important in many sequences in the
film, particularly in the opening sequence and the murder
scenes. In fact, many of the scenes involving The Alien
‘harvesting’ or seducing the victims utilise digital effects but
often in conjunction with practical effects: whilst CGI was used
to enhance and finish the scenes featuring the ‘black room’ in
which the character traps men, the a bespoke set was built to
enhance the feeling of physicality to the scene. A highly reflective floor, blackout materials and
custom lighting were all used so that when the actors were filmed walking into a pool, the floor
sank as they walked, submerging them.
But it is the use of the low-tech hidden dash cams that give the film powerful sense of realism and
immediacy. The van was fitted with several very small cameras and Johansson was able to drive in
real locations surrounded by members of the public, interacting with them using improvisation.
INSTITUTIONAL
Jointly financed by Film4, the BFI, Screen Scotland and
Silver Reel, the film is clearly influenced by its producers’
remits to create distinctive and alternative films that
challenge mainstream aesthetics and offer opportunities to
new forms of UK film. In its subject matter, narrative
construction and aesthetic style, the film is innovative. It’s
perhaps for that reason that the film took so long to be made-10 years from conception to
cinematic release. A key aspect of the production was the need to develop bespoke cameras that
suited the filming inside the van ‘secretly’ but also in a quality, and from a position, that suited the
overall aesthetic of the film. As explored in the PRODUCTION DETAILS section above, the choice
of lead actor as Scarlett Johansson was perhaps, in part, influenced by the production companies
demands for an A-list actor in order to potentially draw in a wider audience.

TASKS:
• Write out your life story in 100 words.
• What you have just written and read will not be your story. In terms of film theory, it will be
the plot you have selected from your life story. You will have chosen which events to select
and you will have structured those events in a particular order. Your selection and structural
order were probably influenced by trying to focus your listener on certain elements of your
whole life story.
• Think about what events you left out and why. Are the reasons why you selected and
deselected events similar to your partner’s reasons?
• When you created the plot of your life you were thinking, much like a screenwriter would,
about trying to tell a story in a particular way to create a particular effect on the audience.
• Now try redrafting the plot of your life to make it funnier or more mysterious or more
exciting. Feel free to exaggerate if you wish. Try to stick to the limit of 100 words. You
could try experimenting with temporal duration, frequency, temporal order and narrative
point of view to make it even more interesting to the audience.
• Compare your redrafted life story with the original. How is it more interesting and which
narrative devices are most important to the effect? This is an important way of thinking
about narrative analysis – the choices made by the screenwriter in devising a plot have a
highly significant impact on how the spectator perceives story.
PRE-VIEWING: REVISITING NARRATIVE

TASK:
• A man wakes up.
• A woman dies.
• A car alarm sounds.
• A dog chews on a bone.
• A church bell rings.
Using the above random events, create a narrative. You can add more story information to these
plot events and rearrange them if you wish.
Compare your stories as a whole class. Which is the most interesting to you and why?
Most people find this activity very easy. It might be difficult to make a good story but most people
can constructed a story very quickly. Why is it so easy?
What does this activity tell you about story and plot?
TASK:
It’s time to draw…
• Choose ONE of the narratives you have written above and turn into a 6-frame storyboard.
• Consider what you will include and exclude from your narrative and consider aspects of
narrative such as temporal order, foreshadowing or other techniques that may help make
the narrative look visually interesting.
• Be mindful of how much you can communicate visually and in such little space.
• Then be sure to create informative, interesting and innovative angles, sizes, movements and
more.

Much of the narrative is communicated purely visually; there is a distinct lack of any dialogue,
particularly expositional dialogue. We can see this in the opening sequence when we are given no
backstory to establish the characters or their relationship to each other. The relationship between
the motorcyclist and the alien remains mysterious throughout and we are often left to deduct
character motivation from looks alone.
The characters in the film lack names, which makes identification with them and delineation
between them very difficult, and challenges mainstream narrative conventions. You could also
argue that the characters lack much personality in that they seem to lack emotion or thought in
their actions. It is left to the spectator to deduce what they can about the characters.
There is a lack of explicit causality which frustrates attempts by the spectator to develop a cause–
effect chain in the narrative. Some events seem unmotivated, such as why the victims are being
killed, whilst other events lack a clearly explained effect, such as why she leaves the man’s house
towards the end of the film. This is unconventional in film narratives and can be very challenging
(or rewarding?) for the spectator, who is required to work much harder in making meaning.
DISCUSSION TASK:
Why is the narrative so oblique (requiring extensive active spectatorship)? What effect does this
have on the audience? Why might this be deliberate?
TASK:
Use the space below to create a 3 and 5 Act structure pyramid to show the plot of the film. Is this
easier or harder than a more ‘conventional’ narrative? Is it possible to use other ‘narrative models’
(Todorov, Propp) to explore the film?
NARRATIVE

TASK:
Summarising a narrative is a key skill which is often taken for granted. When doing so we need to
consider the length of summary, the purpose and audience as well as the ambiguous and
problematic nature of ‘spoilers’. Your choices in relation to what to include, what to exclude and
how to explain visual elements on your page require consideration and a keen sense of control.
Use the space below to explain the narrative (story) of UNDER THE SKIN.
Now explain the plot of UNDER THE SKIN.
Also important is the ability to explore the narrative via narrative techniques and/or theory.
Let’s begin with Todorov.
Summarise what Todorov suggested about narrative and then explain the narrative of UNDER THE
SKIN using Todorov as the narrative approach.
Now using Propp’s character functions to help explain the plot of UNDER THE SKIN.
Explain the plot focusing on examples of ideas from using Levis-Strauss.
How might Barthes explain the plot with his ideas? What would he focus on?

JOSEPH CAMPBELL AND THE HERO’S JOURNEY
As with Propp, Joseph Campbell explored the role, function and structure of narrative by
examining and comparing stories, myths, legends, religious stories and allegories in his book, THE
HERO WITH A THOUSAND FACES. He concluded that most narratives follow a common pattern
and he referred to this as the mythic hero quest, journey or monomyth. He believed that most
narratives, regardless of their time, place or culture, follow the same narrative stages and contain
universally recognisable characters and situations, knows as archetypes.
Archetypes then, are recurring character types (and relationships) and/or patterns of symbols or
situations found in stories of all kinds, often those which influence culture at large.
TASK: Read the description of the character archetypes and add relevant examples of each.
• Hero. The hero is the audience’s personal tour guide on the adventure that is the story. It’s
critical that the audience can relate to them, because they experience the story through their
eyes. During the journey, the hero will leave the world they are familiar with and enter a
new one. This new world will be so different that whatever skills the hero used previously
will no longer be sufficient. Together, the hero and the audience will master the rules of the
new world, and save the day. EXAMPLES:
• Mentor The hero has to learn how to survive in the new world incredibly fast, so the mentor
appears to give them a fighting chance. This mentor will describe how the new world
operates, and instruct the hero in using any innate abilities they possess. The mentor will
also gift the hero with equipment, because a level one hero never has any decent weapons
or armour. EXAMPLES:
• Ally The hero will have some great challenges ahead; too great for one person to face them
alone. They’ll need someone to distract the guards, hack into the mainframe, or carry their
gear. Plus, the journey could get a little dull without another character to interact with.
EXAMPLES:
• Herald The herald appears near the beginning to announce the need for change in the
hero’s life. They are the catalyst that sets the whole adventure in motion. While they often
bring news of a threat in a distant land, they can also simply show a dissatisfied hero a
tempting glimpse of a new life. Occasionally they single the hero out, picking them for a
journey they wouldn’t otherwise take. EXAMPLES:
EXPLORING NARRATIVE FURTHER

• Trickster The trickster adds fun and humour to the story. When times are gloomy or
emotionally tense, the trickster gives the audience a welcome break. Often, the trickster has
another job: challenging the status quo. A good trickster offers an outside perspective and
opens up important questions. EXAMPLES:
• Shapeshifter The shapeshifter blurs the line between ally and enemy. Often they begin as an
ally, then betray the hero at a critical moment. Other times, their loyalty is in question as
they waver back and forth. Regardless, they provide a tantalizing combination of appeal
and possible danger. Shapeshifters benefit stories by creating interesting relationships
among the characters, and by adding tension to scenes filled with allies. EXAMPLES:
• Guardian The guardian, or threshold guardian, tests the hero before they face great
challenges. They can appear at any stage of the story, but they always block an entrance or
border of some kind. Their message to the hero is clear: “go home and forget your quest.”
They also have a message for the audience: “this way lies danger.” Then the hero must
prove their worth by answering a riddle, sneaking past, or defeating the guardian in
combat. EXAMPLES:
• Shadow Shadows are villains in the story. They exist to create threat and conflict, and to
give the hero something to struggle against. Like many of the other archetypes, shadows do
not have to be characters specifically – the dark side of the force is just as much a shadow
for Luke as Darth Vader is. EXAMPLES:
The hero’s journey, also called the monomyth, is the common template of stories that involves a hero who goes
on an adventure, is victorious in a decisive crisis and comes home changed or transformed. Campbell said: “A
hero ventures forth from the word of common day into a region of supernatural wonder: fabulous force are
there encountered and a decisive victory is won: the hero comes back from this mysterious adventures with the
power to bestow boons on his fellow man.”
Campbell describes 17 stages of the monomyth. Not all monomyths necessarily contain all 17 stages explicitly;
some myths may focus on only one of the stages, while others may deal with the stages in a somewhat different
order.
The 17 stages may be organized in a number of ways, including division into three "acts" or sections:
I. Departure (also Separation),
II. Initiation (sometimes subdivided into A. Descent and B. Initiation) and
III. Return.

I. Departure
1. The Call to Adventure
2. Refusal of the Call
3. Supernatural Aid
4. The Crossing of the First Threshold
5. Belly of the Whale
II. Initiation
6. The Road of Trials
7. The Meeting with the Goddess
8. Woman as the Temptress
9. Atonement with the Father
10. Apotheosis
11. The Ultimate Boon
III. Return
12. Refusal of the Return
13. The Magic Flight
14. Rescue from Without
15. The Crossing of the Return Threshold
16. Master of the Two Worlds
17. Freedom to Live
DEPARTURE
1 The hero begins in a situation of
normality from which some information is
received that acts as a call to head off into
the unknown.
.
2. Often when the call is given, the future
hero first refuses to heed it. This may be
from a sense of duty or obligation, fear,
insecurity, a sense of inadequacy, or any
of a range of reasons that work to hold the
person in his current circumstances.
3. Once the hero has committed to the
quest, consciously or unconsciously, his
guide and magical helper appears or
becomes known. More often than not, this
supernatural mentor will present the hero
with one or more talismans or artifacts that
will aid him later in his quest
4. This is the point where the hero actually
crosses into the field of adventure, leaving
the known limits of his world and venturing
into an unknown and dangerous realm
where the rules and limits are unknown.
5. The belly of the whale represents the
final separation from the hero's known
world and self. By entering this stage, the
person shows a willingness to undergo a
metamorphosis. When first entering the
stage the hero may encounter a minor
danger or setback.
INITIATION
6. The road of trials is a series of tests that
the hero must undergo to begin the
transformation. Often the hero fails one or
more of these tests, which often occur in
threes. Eventually, the hero will overcome
these trials and move on to the next step.
7. This is where the hero gains items given
to him that will help him in the future
8. In this step, the hero faces those
temptations, often of a physical or
pleasurable nature, that may lead him to
abandon or stray from his quest, which
does not necessarily have to be
represented by a woman. A woman is a
metaphor for the physical or material
temptations of life since the hero-knight
was often tempted by lust from his
spiritual journey.
9. In this step, the hero must confront and
be initiated by whatever holds the ultimate
power in his life. In many myths and
stories, this is the father or a father figure
who has life and death power. This is the
center point of the journey. All the
previous steps have been moving into this
place, all that follow will move out from it.
Although this step is most frequently
symbolized by an encounter with a male
entity, it does not have to be a male—just
someone or something with incredible
power.
10. This is the point of realization in which
a greater understanding is achieved.
Armed with this new knowledge and
perception, the hero is resolved and ready
for the more difficult part of the adventure.
11. The ultimate boon is the achievement
of the goal of the quest. It is what the hero
went on the journey to get. All the previous
steps serve to prepare and purify the hero
for this step since in many myths the boon
is something transcendent like the elixir of
life itself, or a plant that supplies
immortality, or the holy grail.
THE RETURN
12. Having found bliss and enlightenment
in the other world, the hero may not want
to return to the ordinary world to bestow
the boon onto his fellow man.
13. Sometimes the hero must escape with
the boon if it is something that the gods
have been jealously guarding. It can be
just as adventurous and dangerous
returning from the journey as it was to go
on it.
14. Just as the hero may need guides and
assistants to set out on the quest, often he
must have powerful guides and rescuers to
bring them back to everyday life,
especially if the person has been wounded
or weakened by the experience.

TASK: To what extent does UNDER THE SKIN suit the work of Campbell? What aspects does it fit and what
aspects of the narrative fail to match The Hero’s Journey? Considering production and context, why might a
film like this not suit the idea of the monomyth?
THE RETURN CONTINIUED
15. Campbell says in The Hero with a
Thousand Faces that "The returning hero,
to complete his adventure, must survive
the impact of the world." The trick in
returning is to retain the wisdom gained
on the quest, to integrate that wisdom
into human life, and then maybe figure
out how to share the wisdom with the
rest of the world.
16. For a human hero, it may mean
achieving a balance between the
material and spiritual. The person has
become comfortable and competent in
both the inner and outer worlds.
17. In this step, mastery leads to freedom
from the fear of death, which in turn is
the freedom to live. This is sometimes
referred to as living in the moment,
neither anticipating the future nor
regretting the past.
TASK:
STAR WARS (1977) was classified as a monomyth upon its initial
release. George Lucas himself said
"it came to me that there really was no modern use of
mythology... so that's when I started doing more strenuous
research on fairy tales, folklore, and mythology, and I started
reading Joe's books. ... It was very eerie because in
reading The Hero with a Thousand Faces I began to realize that
my first draft of Star Wars was following classical motifs"
Use the space below to map Campbell’s character archetypes
and the 17 stages of the monomyth to STAR WARS.
CHARACTER ARCHETYPES:
THE HERO’S JOURNEY:

CHRISTOPHER VOGLER’S HERO’S JOURNEY
In the mid-1980s when working as a story consultant for Walt Disney Pictures, Vogler wrote a 7-page
memo as part of his role as a story analyst which distilled Campbell’s book The Hero With A Thousand
Faces. Working with David Mckenna, Vogler took the deals from Campbell’s ideas and created a
version that applied to movies directly and as a result of watching thousands of clips from films,
created a version of Campbell’s theory which condensed the idea down to 12 narrative beats or
archetypes, spread across two “words”. The memo was an instant success and lead to Walt Disney
Pictures employing Vogler directly on THE LION KING but when he arrived, found that the storyboards
created in early development already referenced the hero’s journey. Since then it has become a go-to
in writing for film and a core part of Vogler’s (and others’) teaching on scriptwriting across the world.
Ordinary
World
1. The Ordinary World
2. Call to Adventure
3. Refusal of the Call
4. Meeting the Mentor
5. Crossing the Threshold
11. Resurrection
12. Return with Elixir
Special
World
6. Tests, Allies, Enemies
7. Approach
8. Ordeal, Death and Rebirth
9. Reward, Seizing the Sword
10. The Road Back
THE ORDINARY WORD
1. The hero, uneasy, uncomfortable or unaware, is introduced
sympathetically so the audience can identify with the situation or
dilemma. The hero is shown against a background of
environment, heredity, and personal history. Some kind of polarity
in the hero’s life is pulling in different directions and causing
stress.
2. Something shakes up the situation, either from external
pressures or from something rising up from deep within, so the
hero must face the beginnings of change.
3. The hero feels the fear of the unknown and tries to turn away
from the adventure, however briefly. Alternately, another
character may express the uncertainty and danger ahead.
4. The hero comes across a seasoned traveler of the worlds who
gives him or her training, equipment, or advice that will help on
the journey. Or the hero reaches within to a source of courage
and wisdom.
5. At the end of Act One, the hero commits to leaving the
Ordinary World and entering a new region or condition with
unfamiliar rules and values.
11. At the climax, the hero is severely tested once more on the
threshold of home. He or she is purified by a last sacrifice,
another moment of death and rebirth, but on a higher and more
complete level. By the hero’s action, the polarities that were in
conflict at the beginning are finally resolved.
12. The hero returns home or continues the journey, bearing some
element of the treasure that has the power to transform the world
as the hero has been transformed.
THE SPECIAL WORD
6. The hero is tested and sorts out allegiances in the Special
World.
7. The hero and newfound allies prepare for the major challenge
in the Special world.
8. Near the middle of the story, the hero enters a central space in
the Special World and confronts death or faces his or her greatest
fear. Out of the moment of death comes a new life.
9. The hero takes possession of the treasure won by facing death.
There may be celebration, but there is also danger of losing the
treasure again.
10. About three-fourths of the way through the story, the hero is
driven to complete the adventure, leaving the Special World to be
sure the treasure is brought home. Often a chase scene signals the
urgency and danger of the mission.

TASK:
Use the space below to map Vogler’s 12stages of the Hero’s Journey to STAR WARS.
TASK:
To what extent does UNDER THE SKIN suit the work of Vogler? What aspects does it fit and what aspects
of the narrative fail to match The Hero’s Journey? Considering production and context, why might a film like
this not suit the work of Vogler, even if he adapted the work of Campbell directly for movies?
NARRATIVE SUMMARY
Having explored a range of narrative theories, it’s now time to look at summaries of each and the
pros and cons of each, both in terms of your own personal opinion and how each may suit UNDER
THE SKIN. For each, consider what each says, why you feel it’s especially useful/accurate and
why it isn’t. To do so, consider the origins of each theory and how each was designed to apply to
specific ideas and mediums. Then for each consider how useful/appropriate each is for UNDER
THE SKIN with reasons why.
Aristotle – beginning, middle and end.
Freytag – Exposition, Rising Action, Climax, Falling Action, and Resolution.
Todorov – equilibrium, disequilibrium, re-equilibrium
Propp – 9 character functions and 31 narratemes
Levi-Strauss – binary oppositions
Campbell – 17 stages of the monomyth and character archetypes
Vogler – 12 stages and characters archetypes

One of the first recognisably, traditional shots
from the film is this extreme long shot of The
Female. This scene seems to work primarlily as a
form of visual exposition. However, it also
establishes tone, pace and a sense of character.
It’s notable too that the two characters we first
see on screen are female, especially in the way in
which the scene is shot, initially in XLS and with
the characters in near-silhouette.
TASK 1
What do we actually learn from this scene? Do we get any other character information about her
in this scene, from the use of sound, mise-en-scène, cinematography or performance?
TASK 2
Identify three other images from the film to show exactly when and how The Female changes from
these initial images. Annotate each image to identify, precisely, how she has changed and what
has caused the change. How do each of the changes in her character arc affect other changes?
Consider how these changes are communicated to us. Are they communicated through sound?
Visually? Through performance?
From this point forward, throughout the film we are aligned with The Female as the protagonist,
though perhaps not a protagonist in the traditional sense. Indeed, our alignment to her is perhaps
problematic given what she does and to others. However, we are constantly watching her and
watching others with her or from her perspective and as a result, we need to consider what the film
wants us to think about her and how it wants us to feel about her.
INITIAL RESPONSES

DISCUSSION
Should we see her as a woman? Or as something that is becoming a person? Or as an inhuman
monster?
What is your personal approach and understanding of The Female. Should we see here as a
woman? As an ‘alien’, in whatever meaning that may have. Do we see her as something becoming
a person? Or perhaps as an inhuman monster?
Identify your dominate idea and provide at least 3 examples from the film that support your idea.
Be prepared to present your answer, including evidence and also be prepared to defend and
argue your point against ideas which are different to yours.
TASK:
Make a list of characteristics society may consider to be traditionally ‘feminine’. Repeat for
traditionally ‘masculine’ characteristics.
‘FEMININE’ CHARACTERISTICS ‘MASCULINE’ CHARACTERISTICS
Which of these traits are depicted in the character of The Female? Does she challenge or conform
to our expectations of female characters? And how does this influence our feeling over her?

THE MONSTROUS-FEMININE
In ‘THE MONSTROUS-FEMININE: FILM, FEMINISM,
PSYCHOANALYSIS’, Barbara Creed examines women in horror films as
put in the role of victim and how several kinds of "mothers" are created in
the genre.
Using Julia Kristeva's notion of the abject (the term abjection literally
means "the state of being cast off." The term has been explored in post-
structuralism as that which inherently disturbs conventional identity and cultural concepts), Creed
examines horror films as crossing the boundaries created objecting parts of self like bodily fluids,
or things that create a loss of boundaries.
The viewer momentarily enjoys the loss of these boundaries because the film ultimately returns to
them when the female victim is triumphant over her antagonist. Creed uses this theory to examine
how female figures are constructed in horror films to create categories of monstrous females.
TASK 1:
Find/create suitable definitions for the following types of ‘Monstrous Females’:
• Archaic Mother
• Possessed Monster
• Monstrous Womb
• Vampire
• Witch
• Femme Castratrice
• Castrating Mother
TASK 2:
Now go back and, for each, try to think of examples of the above from other films you have seen.
TASK 3: THE MONSTROUS FEMININE IN UNDER THE SKIN
In UNDER THE SKIN, which of these archetypes (if any) does The Female conform to? In what
ways? Provide at least TWO bits of specific pieces of evidence from the film.
DISCUSSION TASK:
To what extent is the monstrous female a relevant approach to horror films? How does might this
approach change our reaction to a horror film? Can it be applied to other genres?
DEVELOPING RESPONSES: IDEOLOGIES

THE MALE GAZE
Mulvey is best known for her essay, "Visual Pleasure and Narrative Cinema",
written in 1973 and published in 1975 in the influential British film theory
journal Screen. It later appeared in a collection of her essays entitled Visual and
Other Pleasures, as well as in numerous other anthologies. Her article, which was
influenced by the theories of Sigmund Freud and Jacques Lacan, is one of the first
major essays that helped shift the orientation of film theory towards
a psychoanalytic framework.
The core of her thesis was that the cinematic apparatus of classical Hollywood
cinema inevitably put the spectator in a masculine subject position, with the figure of the woman on screen
as the object of desire and "the male gaze". In the era of classical Hollywood cinema, viewers were
encouraged to identify with the protagonists, who were and still are overwhelmingly male. Meanwhile,
Hollywood women characters of the 1950s and 1960s were, according to Mulvey, coded with "to-be-
looked-at-ness" while the camera positioning and the male viewer constituted the "bearer of the look".
Mulvey suggests two distinct modes of the male gaze of this era: "voyeuristic" (i.e., seeing woman as image
"to be looked at") and "fetishist" (i.e., seeing woman as a substitute for "the lack", the underlying
psychoanalytic fear of castration). This proposition asserts that the presence of a woman frightens a man;
he realises that he could be without a penis, that it is not vital to life and therefore, undercuts his value as
defined in a masculine manner.
To account for the fascination of Hollywood cinema, Mulvey employs the concept of scopophilia. This
concept was first introduced by Sigmund Freud in Three Essays on the Theory of Sexuality (1905) and it
refers to the pleasure gained from looking as well as to the pleasure gained from being looked at, two
fundamental human drives in Freud’s view. Sexual in origin, the concept of scopophilia has voyeuristic,
exhibitionistic and narcissistic overtones and it is what keeps the male audience’s attention on the screen.
Important too, is to recognise that cinema, specifically Hollywood cinema, is the creation of men and
therefore our understanding of what constitutes ‘pleasure’ or even the voyeuristic frame, is inherently
defined by the pre-conceived ideal set forth by a male tradition. For example, consider 09:08-09:42 of
JUNO (2009): often cited as an example of the ‘female gaze’, this is only defined and recognised because
of the male equivalency-would a true representation of female voyeurism be shot in the same way?
TASK 1:
List some examples of the male gaze from films. Be sure to list the name of the film, the character
gazing and the object. Even better: use film form to describe how the gaze was created.
TASK 2:
Now separate your list into two sections: one which features overt examples of male characters literally
gazing at women and the other as the examples whereby the camera is the thing that leers and gazes.
TASK 3:
Finally, which of your list seem to position the woman in Mulvey’s ‘voyeuristic’ frame (seeing the
woman as an object to be looked at) and which are ‘fetishist’ (things which are designed to distract
attention from ‘the lack’ or castration anxiety).
TASK 4: THE MALE GAZE IN UNDER THE SKIN
Evaluate the Male Gaze in UNDER THE SKIN. Is it present? Where? Is it voyeuristic or fetishist? What
examples do we have? Aim to be specific in terms of film form.

Via http://www.virginiabonner.com/courses/cms4320/readings/mulveystudyguide.html
Mulvey did not undertake empirical studies of actual filmgoers, but declared her intention to make ‘political
use’ of Freudian psychoanalytic theory (in a version influenced by the later theorist Jacques Lacan) in a
study of cinematic spectatorship. Such psychoanalytically-inspired studies of spectatorship do not investigate
the viewing practices of individuals in specific social contexts; instead, they focus on how ideological
'subject positions' are constructed by media texts.
Mulvey particularly investigates Freud's discussion of (infantile) scopophilia - the pleasure involved in
looking at other people’s bodies as objects--particularly as erotic objects. In the darkness of the cinema
auditorium, one may look without being seen either by those on screen by other members of the audience.
Mulvey argues that such features of cinema viewing conditions facilitate for the viewer both
the voyeuristic process of objectification of female characters and also the narcissistic process
of identification with an ideal version of the self (the ego-ideal) seen on the screen.
She declares that in patriarchal society ‘pleasure in looking has been split between active/male and
passive/female.’ This is reflected in the dominant forms of cinema. Conventional narrative films in the
‘classical’ Hollywood tradition not only typically focus on a male protagonist in the narrative but also
assume a male spectator. ‘As the spectator identifies with the main male protagonist, he projects his look
onto that of his like, his screen surrogate, so that the power of the male protagonist as he controls events
coincides with the active power of the erotic look, both giving a satisfying sense of omnipotence.’
Traditional films present men as active, controlling subjects and treat women as passive objects of desire for
men in both the story and in the audience, and do not allow women to be desiring sexual subjects in their
own right. Such films objectify women in relation to ‘the controlling male gaze’, presenting ‘woman as
image’ (or ‘spectacle’) and man as ‘bearer of the look’. (It was Mulvey who coined the frequently used
term 'the male gaze'.) Men do the looking; women are there 'to be looked at'. The cinematic codes of
popular films ‘are obsessively subordinated to the neurotic needs of the male ego’.
Mulvey distinguishes between two modes of looking for the film pectator: voyeuristic and fetishistic, which
she presents in Freudian terms as responses to male ‘castration anxiety’. Voyeuristic looking involves a
controlling gaze and Mulvey argues that this has associations with sadism
(punishment and/or demystification): ‘pleasure lies in ascertaining guilt - asserting control and subjecting the
guilty person through punishment or forgiveness’. Fetishistic looking, in contrast, involves ‘the substitution of
a fetish object or turning the represented figure itself into a fetish so that it becomes reassuring rather than
dangerous. This builds up the physical beauty of the object, transforming it into something satisfying in itself.
The erotic instinct is focused on the look alone’. Fetishistic looking, she suggests, leads to overvaluation of
the female image and to the cult of the female movie star. Mulvey argues that the film spectator oscillates
between these two forms of looking: sadistic voyeurism and fetishistic scopophilia.
KEY TERMS
Phallocentrism—advancement of the masculine as the source of power and meaning through
cultural, ideological, and social systems (Routledge Dictionary of Feminism and Postfeminism)
Scopophilia—pleasure in looking; “the erotic basis for pleasure in looking at another person as
object. At the extreme, it can become fixated into a perversion, producing obsessive voyeurs.”
(Mulvey)
Narcissism—self-love, or an extreme focus on the self and one’s own desires. In cinema, results in
spectator’s identification with the protagonist. “curiosity and the wish to look intermingle with a
fascination with likeness and recognition” (Mulvey)

Castration anxiety—the presence of the female figure frightens the male, since he realizes that he,
too, could be without a penis. The woman “connotes something that the look continually circles
around but disavows: her lack of a penis, implying a threat of castration and hence unpleasure”
(Mulvey). Can be relieved either through demystification or fetishistic scopophilia.
Fetish—an object (i.e. high-heels, a feather boa, costume, prop, etc.) that distracts the male’s
attention from the castration anxiety represented by woman and therefore allows him to look at
the woman pleasurably without fear.
TASK 1:
Look at the tables below and begin by reading the explanations of the male gaze. Next to each idea, list
an example of this in a film. Try to be as specific as possible in the examples.
MALE EXAMPLE
Active
The one who looks (the male character
who is "the bearer of the look")
Advances the narrative (the hero who
makes things happen
Controls the film fantasy (“projects
fantasy onto female figure, which is
styled accordingly”)
Bearer of the look of the spectator
TASK 2:
Using the information learned so far, look at the tables below and begin by completing the column which
explains how females are treated as part of the male gaze. Essentially, this means creating a definition
which is the opposite of the MALE definitions and ideas. Then, next to each idea, list an example of this in a
film. Try to be as specific as possible in the examples.
FEMALE EXAMPLE

THE FEMALE GAZE
For some, the identification and exploration of the male gaze must therefore implicitly suggest a
“female gaze”. At its most reductive, if the male gaze is “leering at women is bad” then a form of
remedy for this is, “leering at men is good”. Except that things are not this straightforward. The
male gaze is complex and therefore opposition, either as an argument or a remedy, to it shall be
as well. Notions of gender, gender identification and sex are also complex issues that mean that
even the term male gaze should perhaps be better named as “the masculine gaze” and the male
gaze then, is not absolute: not every person who identifies as male will find that the gaze is
inherently sexual or voyeuristic. Therefore, the potential for the female gaze will need to reflect
this and not be a absolute: the female gaze is only “men shot in a sexualized manner” if used as
the direct opposite of the male gaze, rather than defining the idea on its own terms.
https://www.youtube.com/watch?v=pwtwsyoKUFo&t=367s
From “Dirk Turtle” on https://youtu.be/lapZQysjAMI
“There's a common perception that the opposite of "patriarchy" is "matriarchy". The opposite
would be "not patriarchy". Mulvey argues convincingly that a gendered gaze in prominent in
cinema (others, like John Berger, offer more arguments). The opposite of the male gaze would not
be females objectifying men, but an absence of voyeuristic sexualization. It's also worth noting
that there is no value judgement on the male gaze. It's not "good" or "bad", it's simply something
to be aware of. The critique of the male gaze largely rests on its systemic use. That Western
media takes this as a starting point. Mulvey expresses this when she hints that
experimental/alternative … as an area where the male gaze isn't dominant.”
TASK 1:
List some examples of what could be described as female gaze in films. Be sure to list the name of the
film, the character gazing and the object. Even better: use film form to describe how the gaze was
created.
TASK 2:
Now separate your list into two sections: one which features overt examples of female characters
literally gazing at men and the other as the examples whereby the camera is the thing that leers and
gazes.
TASK 3:
Finally, why is it so hard to find examples? What are the issues with these? Explain in your own words
why a ‘Female Gaze’ is inherently problematic and generally an inaccurate approach to the idea of
the male gaze.

THE FINAL GIRL
In her book ‘MEN, WOMEN AND CHAINSAWS: GENDER IN
THE MODERN HORROR FILM ’ published in 1992, Carol J
Clover explored spine-chilling and hair-raising films (think horror
and suspenseful films) wherein everyone dies except for one
female survivor. This lone survivor is the personification of a
‘Final Girl’ concept of this particular film classification, that the
leading character is luckily spared from the vicious attacks of the murderer. She is the last person
to be alive to confront the killer and usually survives to talk about the ordeal, after all her friends
are killed off, one after the other.
This explanation from
https://intheirownleague.com/2019/10/03/feminist-film-
theory-101-carol-j-clovers-the-final-girl/ is especially useful;
“From its first publication in 1992, Carol J. Clover’s “Men,
Women, and Chain Saws” has offered a groundbreaking
perspective on the creativity and influence of horror cinema
has on our popular culture since the mid-1970s. Clover studied
slasher films from the 1970s and 1980s and defined the Final
Girl as a female who is the sole survivor of the group of young
people. The Final Girl is the one who gets a final confrontation with the villain and she either kills him
herself or she is saved at the last minute by someone else, such as a police officer. The Final Girl has been
given a “privilege” of survival because of her implied moral superiority (for example, she is the only one
who refuses sex, drugs, or other such behaviors, unlike her friends).”
According to Clover, horror films tap into society’s repressed fears of gender. Like the fairytales of
the past such as Little Red Riding Hood and Snow White, films such as HALLOWEEN and TEXAS
CHAINSAW MASSACRE focus on the concept of an outside threat and a pure, Virgin ‘princess’
who must defeat evil. Horror films address the concerns of the society at the time, the late 1970s
and 1980s saw the rise of the teen youth culture and sexual freedom which manifested itself in the
slasher movie. Clover states that the Final Girl is first presented to us through the use of the Male
Gaze. This Gaze is usually belongs to the killer/s, perhaps best depicted by how Michael Myers
stalks Laurie (Jamie Lee Curtis) in HALLOWE’EN (1978). However, during the films, there is a
transition where the narrative flips and the audience starts to identify with and root for the Final
Girl. As Clover states, “These films are designed to align spectators not with the male tormentor,
but with the female victim — the ‘final girl’ — who finally defeats her oppressor.”
https://www.youtube.com/watch?v=87lDoO8XtGA
DISCUSSION:
To what extent can the Alien in UNDER THE SKIN be usefully labelled as The Final Girl, based on what
we’ve leaned above? Why might UNDER THE SKIN lean into the idea of a ‘Final Girl’ based on the idea of
spectator’s ‘rooting’ for them? Why might she not suit this theory especially well?
TASK:
Create a table with two columns. In column one list bullet points that contain different aspects that help to
create the definition of The Final Girl. Next to each, list how The Female in UNDER THE SKIN could suit
each.
TASK 2:
How does the use of the Male Gaze and its application to UNDER THE SKIN effect the idea of The Final
Girl applying to The Female? Refer to example of film form to prove ideas.

UNDER THE SKIN has a striking, ambiguous opening scene, followed by a vivid and explicit scene
before settling into what can only be described as an unremarkable, realistic style which
culminates in some beautiful imagery. If the film is a science fiction film, why is the vast majority of
the film shot in a way that simply reflects a recognisable example of Scotland in the city of
Glasgow? Why does The Female dress like any other pedestrian? Why is her vehicle of choice a
boring and entirely ordinary white Transit van? Perhaps key to this is appreciating the purpose of
the Female; to appear to be ‘normal’. Her clothing, make-up and hair are very normal and
recognisable to the audience. In fact, the specific style seems to invoke a suggestion of a 70s or
vintage aesthetic, perhaps a commentary on how the film/film makers view Glasgow, as being so
dull and ordinary that someone who dresses like they’re from the 70s does not look out of place.
Whilst there is focus on the specific nature of both the social realist and sci-fi style that the film has
in the following pages, an interview that Jonathan Glazer gave to the website CBR.com where he
explained that the visual style of the film was designed to be unique:
Well, I tried to get rid of every recognizable influence there is. I wasn’t interested in referencing
other films at all. https://www.cbr.com/under-the-skins-jonathan-glazer-talks-genre-influence-and-scarlett-johansson/
And this goes a way to understanding why the film neither looks like an overt sci-fi film, a social
realistic text or indeed any other recognisable genre. Whilst the spectre of 2001: A SPACE
ODYSSEY and the impact of Stanely Kubrick looms large over every sci-fi film, Glazer says that
rather than approaching the look of the film from a narrative perspective, he’s instead seeking to
replicate the feeling has about that scene, moment, character or section of the script. Therefore,
perhaps looking to explore the film from a visceral perspective may be most rewarding.
TASK:
Identify what emotion you feel that Jonathan Glazer was seeking to create and explain how that
shot creates this.
AESTHETIC INFLUENCES
EMOTION:
HOW THIS IS CREATED:
EMOTION:

Whilst Glazer maintains that he wasn’t interested in referencing other films, it’s perhaps
undeniable that Nicolas Roeg’s 1976 sci-fi film THE MAN WHO FELL TO EARTH is not only
thematically similar, but has broadly similar set-ups. As a result, some set-pieces or ‘beats’ in the
narrative are broadly similar to UNDER THE SKIN and this is reflected in the visual representation
of these scenes. Therefore, one approach to the visual style of UNDER THE SKIN is to consider
films which, even implicitly, may be influential on it.
TASK:
Here are 4 shots from TMWFTE, for each, explain/describe/identify a moment in UNDER THE
SKIN which is similar.
EMOTION:
EMOTION:
EQUIVALENT SHOT OR MOMENT IN UNDER THE SKIN: EQUIVALENT SHOT OR MOMENT IN UNDER THE SKIN:

RESEARCH TASK:
Research THE MAN WHO FELL TO EARTH and note the synopsis of the plot and the themes. Even
better, watch the film, and make note son what happens, focusing on the narrative as a 5 Act
structure and how different aspects of the film change visually based on what stage of the 5 Acts
the film is in.
RESEARCH TASK 2:
Make comparisons with UNDER THE SKIN-explain what is similar and what is different and
explore why this might be the case considering social and institutional context.
EQUIVALENT SHOT OR MOMENT IN UNDER THE SKIN:
EQUIVALENT SHOT OR MOMENT IN UNDER THE SKIN:

As previously mentioned, Glazer did not seek to actively
recreate, or overtly pay homage to other sci-fi texts.
Again though, the influence and legacy of Kubrick lives on
through the work of others but crucially, through his sheer
ability in his chosen genre. For 2001: A SPACE
ODYSEEY, Kubrick, perhaps unwittingly, created not only
an innovate, technical and deeply ambitious science
fiction film, but he set the blueprints for science fiction films
for decades to come. Some of this lasting legacy can be seen in UNDER THE SKIN, whether used
intentionally or not by Glazer and the team behind the film. Glazer gave a review to CBR.com
whereby he addressed the nature of the oblique nature of the imagery and specifically, how the
ambiguous opening of the film works for the audience. His approach to the need for this specific
opening and what it implies to the audience (that the film is about looking) is debatable, but it’s
undeniable that science fiction films are rife with themes of creation and destruction as well as
imagery of eyes and circles.
…looking at the first few shots of the film, it seems like you’re watching a science fiction film, and [as the
eye is forming] it looks like an alignment of planets, the docking of a spaceship and all of that sort of stuff.
It seems like you’re looking at that, and then of course we reveal that what you’ve been watching is the
construction of an eye, and that [indicates] that the film will be about looking. So you get a feeling that
maybe, okay, I understand the language of this film, I understand this is science fiction, but you understand
where the film will push you – that this is like a science fiction film, in order to help lower people where we
wanted to be. https://www.cbr.com/under-the-skins-jonathan-glazer-talks-genre-influence-and-scarlett-johansson/
Whilst one could create a list of science fiction films which make use of circular imagery the use of
this may not be as useful as exploring why circles may be used. On one hand, circles are
inherently ‘natural’; their shape is one which is not easily constructed by hand and therefore, we
can draw a distinction between being ‘man-made’ and made up of right angles, and being
naturally created and being circular or amorphous in some form. To illustrate, take a very broad
history of man-made constructions:
Right angles. Straight lines. Whilst a selective choice, it’s clear that there is some inherent, or
perhaps technological reason as to why humans build in such a ‘rigid’ manner. Nature for
example, has a very different approach:
AESTHETICS OF SCI-FI AND SOCIAL REALISM

There are myriad reasons for these differences (beyond the purposeful selection of examples here)
but one approach could be to assume that creating the circular, amorphous shapes are not easy,
they are complex, elaborate in their structure and fundamentally require huge amounts of
precision, honed through millions of years of evolution. Humans then, in part because of the need
for structural rigidity and height, have tended to build using straight lines but perhaps also because
of the technological demands. Science fiction films then feature circles, circular structures and more
amorphous designs. This may not be a decision which seeks to emulate the complex and precise
structures seen in nature and is more likely to show differentiation to a ‘regular’ and recognisable
human designs, but when viewed in this manner, we can perhaps appreciate why it is that the
production design of a science fiction film may seek to use more ‘fluid’ lines; it shows a mastery
and a technological prowess that implies a significant development for the human race.
It’s perhaps no coincidence then, that the ‘space age’ and ‘futurism’, which reached their peak in
the 1950s, were full of complex and intricate structures that invariably featured circles, fluid lines
and shapes which didn’t adhere to the classically ‘boxy’ nature of human design up to that point.
With the arrival of 2001: A SPACE ODYSSEY in 1968, one can draw a clear line through human
evolution: the stark, explicit and aggressively ‘straight’ monolith appeals to both apes and humans,
but it’s the design of the spaceships and of course HAL which show the development of our
species, no longer confined to lines and right angles, but now capable of creating perfect circles.
DISCUSSION TASK:
Where do we see circles and more fluid designs in UNDER THE SKIN? What specific examples can
you think of? To what extent is the design of the film one which reflects a ‘traditional’ sci-fi
aesthetic? Why might the design of UNDER THE SKIN not be as immediately ‘sci-fi’ and how might
that inform the production design?
However, the influence of 2001: A SPACE ODYSSEY may be more direct than a few circular
objects when it comes to UNDER THE SKIN. Whilst some of the imagery may be entirely
unintentional by the filmmakers, some of the shots are absolutely reminiscent f the Kubrick film and,
given that both are sci-fi films, suggest that there is some form of influence that may in turn be
noticed by an audience and therefore, create some form of expectation or reaction.

Whilst not exact or direct replicas of shots in 2001: A SPACE ODYSSEY, some key ideas are
present in both: the symbology of eyes and circles, technological advances that provide specific
effects on screen such as the slit scan effect and the use of small, adapted cameras in UNDER THE
SKIN and themes of people watching covertly, are present in both films and therefore can be
interpreted in when noticing similarities. Whilst this doesn’t mean that Glazer is incorrect or wasn’t
being truthful when referring to influences, this does suggest that 2001 is such as monolithic film
that it is an inherent influence on almost any sci-fi film as a result. When approach towards
exploring UNDER THE SKIN then, is to consider the role of cinema and science fiction upon it.
RESEARCH TASK:
Make a list of generic conventions you have of the sci-fi genre. These could be narrative, visual or
thematic. Then, in the column next to this list, add examples of any of these conventions you feel
are in UNDER THE SKIN, referencing where and how it’s shown in the film.
GENERIC CONVENTIONS PRESENT IN UNDER THE SKIN?
TASK 2:
How many generic conventions did you find in UNDER THE SKIN? Was this more or fewer than
you expected? Why might that be the case?

According to Wikipedia, social realism is “the term used for work produced by painters,
printmakers, photographers, writers and filmmakers that aims to draw attention to the real socio-
political conditions of the working class as a means to critique the power structures behind these
conditions.” As this is quite a broad definition and aims
to apply to a variety of art forms, the definition perhaps
lacks the nuance that helps to really make clear why this
term applies to UNDER THE SKIN in a practical manner.
Filmed largely on location in UNDER THE SKIN, and
essentially a story about “something” aiming to lure men
for reasons never fully explained, a core aspect of the
narrative is the role of
The Female aiming to be a recognisable and unremarkable
citizen of the city. In order to achieve this, the production design
of the film needs to reflect her desire to seem entirely ‘normal’ in
performance, costume, make-up but also in general
representation, created, in part, by the cinematography. We
also see the use of social realism in the locations used that aren’t
simply the city streets. Houses, beaches, roads and even the
Scottish Highlands are used as locales which help to reinforce
that the film takes places in a ‘normal’ and recognisable place and time.
DISCUSSION TASK:
Even though UNDER THE SKIN is a science-fiction film which features a protagonist who is extra-
terrestrial in nature, what is the importance or relevance in using recognisable locations? How
might this influence the audience and the reaction that the audience may have, even if they have
never been to Scotland and Glasgow specifically? DO you think that the film references social-
realism because it has something to say about the working classes? If so, what?
TASK:
The denouement of the film takes place in the Scottish Highlands and for the most part, The Female
is alone, albeit pursued by characters off screen. Identify some shots that help to demonstrate her
isolation and explore the significance of this in the final act: why is it important that she is alone
and away from civilisation both in terms of narrative and audience reaction?

THE MONSTROUS FEMININE
AESTHETICS OF PSYCHOLOGY
TASK 1:
As we have seen, The Monstrous Feminine is a persuasive concept that can apply to many film for
various reasons. It’s application to UNDER THE SKIN can be especially persuasive in exploring
the film and its core messages about gender, even if not initially and explicitly designed to be this
way by the writers/Director.
Note down as many relevant examples of The Monstrous Folklore as you can find in the film,
whether thematically, in the narrative or presented visually. Where possible, refer to specific shots
and/or scenes using film form.
TASK 2:
Then, for each, consider why you feel these references are especially significant to the film and
the reaction of the audience, even if they are unaware of the concept of THE MONSTORUS
FEMININE.
What effects do these references have on the viewer? How might they alter an audience’s
reaction in conjunction with narrative theories that can be applied to the film?

THE MALE GAZE
TASK 1:
When one learns about the Male Gaze, and indeed explores the concept of The Female Gaze, it
quickly becomes a persuasive argument about the representation and treatment of women in film.
For UNDER THE SKIN, an interesting dichotomy exists given that the protagonist is literally
gender neutral but adopts feminine characteristics in order to lure men. Given that the writers and
Director are male, there is an interesting exploration and discussion to be had over the role of the
Male Gaze and how deliberate or not is for this film.
Note down as many relevant examples of The Male Gaze as you can find in the film, whether
thematically, in the narrative or presented visually. Where possible, refer to specific shots and/or
scenes using film form.
TASK 2:
the reaction of the audience, even if they are unaware of the concept of The Male Gaze.

THE FINAL GIRL
TASK 1:
The Final Girl is arguably now a cliché and a well-worn one that filmmakers now actively seek to
avoid after the use of it as a post-modern method of storytelling in self-aware slasher and horror
films in the 2000s. However, there is an argument to be had that, as UNDER THE SKIN is NOT
an overt horror film, exploring it via the prism of ideas related to the horror genre can produce
some interesting interpretations. Perhaps none is more interesting that the exploration of the film
via the critical lens of The Final Girl and how gender studies may force an aware audience to
explore the narrative conclusion of the film to produce some especially interesting readings.
Note down as many relevant examples of The Final Girl as you can find in the final act of the film
via screenshots or references to them.
TASK 2:
the reaction of the audience, even if they are unaware of the concept of The Final Girl.

MISE-EN-SCENE
Discussion Tasks:
Try to write a short summation of the other elements of Mise-en-Scène in the film, to
include: setting, props, costume, staging, movement and off-screen space.
To accompany this, consider how mise-en-scène, including setting, props, costume and
make-up, can generate multiple connotations and suggest a range of possible
interpretations.
Explore how mise-en-scène conveys the key messages and values of the film.
TASK 1:
Try to write a short summation of the other elements of mise-en-scène in the film, to include:
setting, props, costume, staging, movement and off-screen space.
TASK 2:
To accompany this, consider how mise-en-scène, including setting, props, costume and make-up,
can generate multiple connotations and suggest a range of possible interpretations.
TASK 3:

PRODUCTION DESIGN:
Discussion Tasks:
interpretations.
TASK 1:
What is Glazer aiming to show the audience through the production design in the film? Refer to at
least 2 scenes and consider a range of interpretations.
TASK 2:
Look carefully at the use of colour in a sequence of your choice. What is Glazer aiming to show
his viewers through his choice of colour? Consider a range of interpretations.
TASK 3:
Early on in the film we see production design that references and suggests that the film is part
science-fiction, part social realist text. How are these represented using film form? How are these
shown later in the film?

CINEMATOGRAPHY:
Discussion Tasks:
interpretations.
TASK 1:
Examine the stillness of the camera work and the use of static imagery. How do these support the
idea that the film represents reality? In what way does the camera indicate that we are simply
viewers in a world that we ordinarily belong to but don’t inhabit. What effect does this
cinematography have on the viewer?
TASK 2:
There are significant differences in the uses of light and colour in the films two principle ‘realities’,
that of the real world and that of the black and white rooms. What is Glazer aiming to show his
viewers through the production design in the film? Refer to at least 2 scenes and consider a range
of interpretations.

EDITING:
TASK 1:
How does the editing in UNDER THE SKIN develop a discomfort for the audience in some scenes?
Why might that be the reaction that the filmmakers want for the audience at certain points?
TASK 2:
In what way does editing contribute to the narrative and the development of the story? Try to
think of examples within the film where editing, including pace, is used to develop the narrative to
showcase core themes.
TASK 3:
Explore how the editing helps to convey meaning in the opening 15 minutes of the film.

SOUND
TASK 1:
Explore the ways in which the film uses sound in key moments to help develop meaning and
reaction.
TASK 2:
How does the lack of dialogue impact the film by not providing exposition? Why do you think
that this decision was taken by the filmmakers?
TASK 3:
How do ambient sounds, sound effects, Foley, music and/or silence contribute to meaning and
emphasise reaction?

TASK 1:
Make a range of detailed notes to support your analysis of the opening scenes of UNDER THE
SKIN until 12 minutes in.
Mise-en-scene
KEY SCENE ANALYSIS

TASK 2:
Make a range of detailed notes to support your analysis of UNDER THE SKIN between 22:48 and
29:40.
Mise-en-scene

TASK:
Now select a scene of your choice-this should be a minimum of 2 mins long, and ideally no
longer than 8 mins at MOST and make notes on the core aspects of film form below. Use the
headings below and use at least the space on the page below to make these notes but feel free
to use more.
• Mise-en-scene including production design
• Cinematography
• Sound
• Editing

CONTINUATION OF THE TASK: Make a range of detailed notes to support your analysis of a
scene of your choice from UNDER THE SKIN.

AGE, GENDER AND ETHNICITY
A key issue and theme in this film is gender. It should be noted
that the role and exploration of gender is clearly an
imprtantant theme in this film, but due a lack of diversity in both
age and ethnicity, the importance of gender is almost
emphasised or made more prevalent to a viewer as a result.
It’s not often that a sci-fi film features a female lead, but in this
film the idea of a woman as a protagonist is an intensely
complex one: on one hand, our main character appears to be a woman and yet by the end of the
narrative we’re presented with a genderless ‘person’ whose shape appears to be that of a human.
Given this and our appreciation that our main character is an alien, it also appears quite early on
that the alien ‘learns’ how to how to appear to be a woman and has to take her clothing, which
helps to represent her gender, from someone else. Other intresting, perhaps contradictory ideas
include: the sterotypical female protaginist drving a white van, a stereotypically masculine form of
transport, the female being ostencibly a serial killer, something generally associaed with men, and
the idea of a woman approaching, or even luring, men into sexual activity. Indeed, even the idea
of a protagonist who kills is quite abnoral, given that by the end of the film most people would
agree that we should feel some form of empathy with our leading woman. Most of the men in the
film are broadly portrayed in a way which escews the broadly understood gender norms, with the
men being prey, as weak and as being easily manipulated, although ‘the biker’ and the park
ranger at the end of the film both follow more typicla gender tropes, with tjem being aggressive,
dominant and violent towards others, especially women who they seek to control. A deeper
understanding of why gender may be represented in this way has already been covered earlier in
this guide (consider the work of Clover and Mulvey for example), but it’s important to remember
that at the heart of the film is gender, but there are many aspects to consdier in the represntation
of it in this film.
DISCUSSION TASK:
In what ways are The Female’s character archetypally ‘female’? Do any of her actions challenge
ideas of feminiity? How does her appearance contrast with her actions? How does this affect the
representation of her? How are others depicted? What function do the men serve in the narrative?
What does this say about the role of men women in society?
ALIEN AND THE ‘OTHER’
We often use the word ‘alien’ to refer to someone who is, quite
litterly, out of this world. However, a more accurate definition
is that of someone from another country and often not familiar
or at one wth the local custos or norms. Whilst it’s clear by the
end of the film when their ‘real’ form is exposed that the person
is indeed from another planet, her irregular behaviour
throughout the film could be representative of an xenophobic, or xeno-sceptic attitude towards a
‘non-native’ person. Indeed, some commentors feel that UNDER THE SKIN is more an exploration
of our attitude to asylum seekers, migrants and ‘foreigners’ in general, than it is a gender study.
Laregly negative in their portrayal or respresentation, some of these representations are shown in
REPRESENTATION

the scepticism some people show towards our protagonist and whilst there are also some who are
largey kind or welcoming to The Alien, it can be suggested that the ‘odd’ and unnatural manner in
whch she attempts to engage with locals is a product of the film perhaps suggesting an ‘alien’ does
not know how to interact and become a part of ‘our’ society and therefore is ultimately not
welcome. Perhaps most intriguigingly, some scenes allows the audience to see that the wider
Scottish society is indeed welcoming and friendly towards our Alien protagonist (see scenes in the
nightclub, the bus and initially with the swimmer, for example), however her ‘irregular’ reaction
towards them and ultimately her inability to assimilate and behave in a way which is ‘normal’,
suggests that the film (or the filmmakers) take quite a negative view of her and therefore, perhaps,
other ‘aliens’.
DISCUSSION TASK:
What makes The Female human? What makes her an alien? What actions do we see of her, or
from others, that suggests she is ‘different’? In what was is she seen or acts ‘normally’? By the end
of the film, do we see her as a person? How do her actions and reactions support your view? How
does the narrative support your view?
TASK: What is your interpretation?
Overall, try to pin down your own appreciation of representation of the lead in the film by first of
all deciding where you would place them on a scale, as seen below.
NEGATIVE REPRESENTATION POSITIVE
TASK 2: Why did you decide upon that representation?
Explain, with evidence, why you feel that the representation was positive/negative and why at that
end of the scale?
TASK 3: Of the two ideas above, gender and ‘alien’, which representation do you feel is most
accurate and applicable to our protagonist in UNDER THE SKIN? Why is this? And could you offer
another example of representation you think is worthy of discusssion about people other than our
lead charater.

This section of the exam will look something like the below. Note that you need to identify your
films and choose your question.
For the purposes of this part of the course we’ll be answering on just one question for now and as
we’ll be looking at just one film for the moment, your work will be marked (mostly by yourself!) out
of 20. The overall structure of this response may also be different from your final response as
we’re just working on one film for now.
TASK: On separate paper, spend 30 minutes answering the question:
ESSAY QUESTIONS

TASK: Look closely at your completed essay. Highlight your writing showing where you have
included each of these crucial elements:
• Demonstrate knowledge and understanding of elements of film. (AO1)
• Analyse and compare films, including through the use of critical approaches (AO2)
• Evaluate the significance of critical approaches (AO2)
• Analyse and evaluate own work in relation to other professionally produced work. (AO2)
AO1 is very straightforward, it is looking at your ability to show how well you know the film in
relation to the issue you’ve studied and if you can answer the question. Essentially this is the
knowledge and learning component of the question.
AO2 is looking at your ability to apply that knowledge and learning, the levels of evaluative detail
and even using other critical approaches in a thoughtful and incisive way. This is essentially the
creative application of your learning to the task.
In the case of UNDER THE SKIN you need to not only know the film but also the theories of
narrative that we’ve studied along the way and how they apply to the film. If you can demonstrate
that you understand these theories and that you can understand how the film presents them to you
and even how you have created your own understanding then you’re on to a winner.
Consider the following as POTENTIAL guidance on what could be included:
• an understanding that narrative resolutions will have ideological implications – which may be
discussed in terms of how conventional the narrative resolution of the film is.
• a discussion of how the ideologies conveyed by the film inform the resolution (which may be
expressed in terms of key representations or issues raised by the film)
• some reference that ideologies are not always intended by filmmakers
• a conclusion that ideological analysis has been significant in understanding the narrative
resolutions of the two films.
TASK: Now have a look at the opening paragraph below. Highlight this is in a similar way to your
own work. Is there anything that you would improve?
TASK: Now choose a paragraph from your essay to re-write. Aim to include all of the elements
suggested above.
Whilst both MOON and UNDER THE SKIN appear to be films with ambiguous and unfulfilled narratives, both can be
explored through differing ideologies to help explain why some audiences may find their final acts to be satisfying. In
Jonathan Glazer’s UNDER THE SKIN (2013), the final act sees the ‘Alien attempt to run away from the equilibrium she
has created, in part as a reaction to her inability to kill the ‘disfigured man’, but also perhaps because he new-found
empathy for humans (which she gains by NOT slaughtering the aforementioned victim) means that she wants to attempt
to live as a regular ‘human. However, the film cannot allow her to do so: she is a serial killer and has done so by luring
men and, it appears, harvesting their bodies. In this respect The Alien could be seen as a female ‘vampire’, luring their
victims using the promise or suggesting of sex and then forcibly removing their life through the destruction or ‘removal’
of their body. The insert shot of the ‘red pile’ which appears tp be moving towards a point of light is often assumed to be
the viscera or the men being harvested for some unknown purpose by an alien race, but this too reflects the idea of a
vampire who would also ‘remove’ red ‘stuff’ from a human for their own needs. Given this interpretation then, the ending
of the film, where the Alien is killed, can be seen to be a necessary ending, as, just as a vampire must, the perpetrator
must be punished for their crimes or their sins. Just as a vampire is often shown to burst into flames when confronted with
sunlight, here too the alien is set alight when her true form is seen. Whilst unsatisfactory for some audiences who would
not want to see our protagonist killed, the need for this is borne out of the comparison to a vampire-she must be killed
for her murderous and selfish intent, just as vampire would and therefore actually creating a satisfactory, or at the very
least, understandable ending.

TASK: Finally, ask someone else to read your work and tick the relevant boxes below:
LIMITED BASIC SATISFACTORY GOOD EXCELLENT
Demonstrate knowledge and understanding of
elements of film. (AO1)
Analyse and compare films, including through
the use of critical approaches (AO2)
Evaluate the significance of critical
approaches (AO2)
Analyse and evaluate own work in relation to
other professionally produced work. (AO2)

Under the Skin booklet - a guide, workbook and text book for A-Level film studies for Eduqas/WJEC

Under the Skin booklet - a guide, workbook and text book for A-Level film studies for Eduqas/WJEC

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Under the Skin booklet - a guide, workbook and text book for A-Level film studies for Eduqas/WJEC