The following links are useful for you in relation to the work we will do relating to this examination unit:
CLICK HERE to access the Papadopoulos and Sons website where you will find loads of information...
CLICK HERE to access Stephen Fellows website where there is a full breakdown of the costs for PAS.
CLICK HERE to access the UK Film Distributors' Association step-by-step guide to film distribution. CLICK HERE to access the ScreenOnline guide to film distribution.
The video below is a guide to film distribution.
CLICK HERE to read an article in The Guardian online where MM talks about how he self-distributed PAS.
What Is Social Class? Social Class is a status hierarchy in which individuals and groups are classified on the basis of esteem and prestige acquired mainly through economic success and accumulation of wealth. Social class may also refer to any particular level in such a hierarchy. Four common social classes informally recognized in many societies are: (1) Upper class, (2) Middle class, (3) Working class, and (4) Lower class. There are stereotypes associated with each of these classes in our society. If you conduct a simple Google Images search for each term you will see many of these. Upper Class Stereotypes Wealthy (money), 'posh accent', educated at private schools, tradition is important, demanding, 'hooray Henry', champagne, fox-hunting, out of touch, etc
Middle Class Stereotypes Suburban living, home owners, 2.4 children (perfect family unit), play golf, professional jobs - suits, nice car, good job, etc
Working Class Stereotypes 'Salt of the earth', hard-working, not as well educated, 'common' accent, manual labour or poorer paid job, only wear smart clothes for special occasions, strong family values, single parent family, never been to university, etc
Lower Class Stereotypes Poor, rude, dangerous, not educated, involved in criminal activity, 'scrounging', rely on benefits, teenage pregnancy, alcohol, swearing, 'chav', no respect for authority, etc.
Social Status Status is different to class. Social Status is a person's standing or importance in relation to other people within a society. It is possible to be from a working class background but to have a high social status through hard work. An example of this would be Sir Alan Sugar. Click here to find out a bit more about how he moved from a boy from a working class background to a businessman with high social status.
If your extract asks you to discuss the ways in which representations of class and status are constructed in the extract, you should be thinking about the following things when watching the clip:
Can I identify what class/status characters are?
Are people from different classes or of different statuses shown as having different interests, personalities, attitudes, behaviours? If so, how?
Is their class/status represented as being important in their life?
Are people from particular classes/statuses represented as being better, more powerful, than others?
Are people from particular classes/ statuses represented as being abnormal /weaker/ more pathetic than others?
How do other characters in the clip treat the characters from different classes or of different statuses?
What is the message the clip is trying to portray about class/status?
I would now like you to produce a response to the question below using the extract from 'The Street' which you watched in class. This would have to be completed in approximately 45 minutes in the exam but you may take more time than this. You may watch the extract as many times as you wish. Completed essays must be emailed to me by 8:30am onWednesday 18th January. Remember to look back at the mark scheme to help you to understand what is being looked for. Please complete the essay in Microsoft Word with a font size of 12. My email address is philiphenton@kba.uk Discuss the ways in which the extract constructs the representation of sexuality using the following:
Use of the camera (framing, angle, movement, composition)
Editing
Sound
Mise-en-scene
Exemplar Response
There are several representations of sexuality that are constructed in this extract.
The opening scene represents a stereotypically male workplace environment where audiences may not immediately expect to see themes of male homosexuality explored. The director deliberately constructs a series of representations through sound and mise-en-scene that, using Levi-Strauss’ theory of binary oppositions, would be in conflict with the next scene, shot entirely in a gay bar. In a building site hut we see exaggerated male stereotypes including hard hats, a gruff foreman paying wages in cash to the builders with a cigarette hanging out of his mouth and men with tattoos talking in working class northern accents. The camera pans from right to left to reveal the two central characters and the foreman framed in medium close up.
As the other builders walk out of frame two men are left in two shot with diegetic dialogue and facial expressions suggesting a friendship or an understanding. Charlie asks in low level mutters what the other man is doing later with narrative enigmas suggesting to an audience he is lacking confidence. This is reinforced by his body language as he looks down at the floor. The other younger man seems more confident which is revealed by his body language, pitch and tone of voice and dialogue as he invites Charlie for a pint but “on my terms”. This again suggests a prior friendship. Their sexuality is immediately anchored by the camera, which cuts to the next scene, a vibrant gay club that they are both attending. Before this abrupt transition we hear stereotypical non-diegetic high-energy gay club music. This music becomes diegetic as the shot cuts to the bar/club but is non-diegetic briefly to act as a sound bridge to enable audiences to fully understand both men are there.
The mise-en-scene of the gay bar swiftly establishes the preferred sexuality of the partygoers as the high energy music continues. We see low angle long shots and also extreme close ups of young semi naked male bodies dancing lit using low key lighting and flashing neon with close ups of men dancing together who are embracing and kissing. Fast paced editing is used to show the upbeat tempo of the club but also to intercut with the two protagonists as they meet at the bar. The younger man appears at the bar in close up. Again his body language more confident while a close up of Charlie sees him walking nervously through the crowd (anchored by his facial expression) with the camera cutting to the direction of his gaze as he looks around anxiously. The preferred reading of this particular scene is that the younger man is more comfortable with his sexuality while Charlie is not.
A high angle establishing shot shows the whole bar and dance floor while the rhythm of the editing parallels the diegetic music as Charlie begins to relax into his environment. Montage editing shows a series of shots of feet in low angle dancing, close ups of drinking pints, close ups of gyrating groin areas dancing and two shots of Charlie and the young man embracing. As Charlie moves away from the bar he is framed in slow motionemphasising his isolation surrounded by a large intense crowd of people. As the camera cuts to the club foyer area Charlie walks into the frame from right to left in long shot and moves into a toilet stall. Here he is shown about to urinate in high angle; the camera anglereinforces the vulnerable situation he is in as he begins to come to terms with his sexuality but also represents the vicious homophobic attack that takes place. A fast paced series of cuts using hand held camera shows extreme close ups of the attacker’s hands and head but also a close up of Charlie’s head as he is pushed against the toilet wall. Sound combines with the editing to reinforce the shock of the attack as we hear a violent thud but also homophobic dialogue from the attacker/thief. An extreme close up depicts the theft.
Slow motion is used again as Charlie returns to the bar blood dripping from a head wound. He is framed as vulnerable and as the victim of a homophobic attack as his friend shouts for the bar staff to call the police. Charlie’s lack of confidence with his own sexuality is suggested by his repeated requests for no police to be involved perhaps because he is either ashamed of his sexuality or that he has a family. The end of this particular scene has a number of negotiated readings but on the coach in the next scene he does question why he was singled out as the victim. This has implied connotations that the attack is linked in some way to his acceptance of his sexuality. The club scene cuts to a point of view shot from inside a coach looking out at greenery while travelling along a road and then pulls back to long shotinside the coach to reveal the passengers inside. In two shot (in medium close up) the two men are seen sitting together. The younger man tries to reassure and help Charlie who continues to question the previous night’s events. Charlie reinforces his traditional male stereotype by stating: “I’m a demolition man, I swing sledgehammers” while he refers to some of the men in the club as “tarts” creating a binary opposition between two different physical representations of masculinity.
(50 marks)
Explanation/analysis/argument: Excellent understanding of the way that technical aspects are used to construct a representation. Clear, logical deconstruction of text linking directly to the question but also exploring some media theory.
Use of examples: Sophisticated range of examples, with appropriate sequences analysed to reveal a representation. All areas of study have been exclusively covered as part of an intelligent, holistic examination of text.
Use of terminology: Sophisticated use of media language and technical terminology.
Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any errors of grammar, spelling and punctuation.
The following information is taken from the RevisionWorld website which can be accessed by CLICKING HERE.
This is a Sociology revision page but there is lots of useful stuff here about gender, age, etc as well as ethnicity.
"Many sociologists believe that media representations of ethnic minority groups are problematic because they contribute to the reinforcement of negative racist stereotypes. Media representations of ethnic minorities may be undermining the concept of a tolerant multicultural society and perpetuating social divisions based on colour, ethnicity and religion.
Evidence suggests that, despite some progress, ethnic minorities are generally under-represented or are represented in stereotyped and negative ways across a range of media content. In particular, newspapers and television news have a tendency to present ethnic minorities as a problem or to associate Black people with physical rather than intellectual activities and to neglect, and even ignore, racism and the inequalities that result from it.
Stereotypical representations
Akinti (2003) argues that television coverage of ethnic minorities over focuses on
crime, AIDS in Africa and Black children’s under-achievement in schools, whilst
ignoring the culture and interests of a huge Black audience and their rich
contribution to British society. Akinti claims that news about Black communities
always seems to be ‘bad news’. Van Dijk’s (1991) content analysis of tens of
thousands of news items across the world over several decades confirms that
news representations of Black people can be categorised into several types of
stereotypically negative news.
Ethnic minorities as criminals – Black crime is the most frequent issue found in media news coverage of ethnic minorities. Van Dijk found that Black people, particularly African-Caribbeans, tend to be portrayed as criminals, especially in the tabloid press and more recently as members of organised gangs that push drugs and violently defend urban territories.
Ethnic minorities and moral panics – Watson (2008) notes that moral panics often result from media stereotyping of Black people as potentially criminal. This effect was first brought to sociological attention by Hall’s classic study of a 1970s moral panic that was constructed around the folk devil of the ‘Black mugger’. Further moral panics have developed around rap music, e.g. in 2003, ‘gangsta rap’ lyrics came under attack for contributing to an increase in gun crime.
Ethnic minorities as a threat – ethnic minorities are often portrayed as a threat to the majority White culture. It is suggested by some media that immigrants and asylum seekers are only interested in living in Britain because they wish to take fraudulent advantage of Britain’s ‘generous’ welfare state. Poole (2000), pre 9/11, argued that Islam has always been demonised and distorted by the Western media. It has traditionally been portrayed as a threat to Western interests. Representations of Islam have been predominantly negative and Muslims have been stereotyped as backward, extremist, fundamentalist and misogynist.
Ethnic minorities as dependent – news stories about less developed countries tend to focus on a ‘coup-war-famine-starvation syndrome’. Often such stories imply that the causes of the problems experienced by developing countries are self-inflicted – that they are the result of stupidity, tribal conflict, too many babies, laziness, corruption and unstable political regimes. External causes such as colonialism, tied aid, transnational exploitation and the unfair terms of world trade are rarely discussed by the British media.
Ethnic minorities as abnormal – the cultural practices of ethnic minorities are often called into question and labelled as deviant or abnormal. Many Asian people believe that the media treatment of arranged marriages was often inaccurate and did not reflect the way that the system had changed over time. Ameli et al. (2007) note that media discussion around the issue of the wearing of the hijab and the veil is also problematic, often suggesting that it is somehow an inferior form of dress compared with Western female dress codes and that it is unnecessary and problematic. It is often portrayed as a patriarchal and oppressive form of control that exemplifies the misogyny of Islam and symbolises the alleged subordinate position of women in Islam.
Ethnic minorities as unimportant – Van Dijk notes that some sections of the media imply that the lives of White people are somehow more important than the lives of non-White people. News items about disasters in developing countries are often restricted to a few lines or words unless there are also White or British victims. Moreover, Sir Ian Blair, the former Metropolitan police commissioner, claimed that institutionalised racism was present in the British media in the way they reported death from violent crime. He noted that Black and Asian victims of violent death did not get the same attention as White victims. However, the murder of the Black teenager Stephen Lawrence by White racists in 1993 received high-profile coverage, both on television and in the press.
Ethnic minorities as invisible – in 2005, a BBC News Online survey noted that Black and Asian people were represented as newscasters and television journalists, but the range of roles that ethnic minority actors play in television drama is very limited and often reflects low status, e.g. Africans may play cleaners or Asians may play shopkeepers. Ethnic minority audiences were also very hostile towards tokenism – the idea that programmes contain characters from ethnic minority groups purely because they ‘should’. Ethnic minority audiences complain that Black and Asian people are rarely shown as ordinary citizens who just happen to be Black or Asian."
The 3 extracts below are all good examples for analysis.
Ethnicity has only been used once as the focus for representation in the exam so should be treated as a HIGH possibility of the focus for this year's exam.
