This clip should be analysed with reference to the way that GENDER is represented.
Feel free to include an introduction along the lines of the one below OR just start your analysis with the phrase "The scene begins with..."
Primeval - Analysis
The purpose of the scene is to create intensity and excitement for the audience, and gender is represented both stereotypically and atypically through the use of camerawork, editing, sound and mise-en-scene. Abby, the female character whom the audience are most clearly positioned with, has many masculine traits, and the way that she is represented is in sharp contrast to Jenny, the female character in the final part of the clip. Similarly, their are different representations of men, or times when certain male characters are represented in less typically masculine ways.
The scene begins with a two shot of a male and female character in medium close up. The camera dollies, tracking them as they walk away from the camera and towards two parked cars. Their figure behaviour suggests that they may have had an argument, and it is clear that the woman is distressed. The man's arm is placed around the back of the woman, as if he is comforting her; a representation of the male as gentlemanly. In contrast, as the director cuts to an over-the-shoulder shot facing the woman, we can see that she is upset; her emotion is clearly visible because of the medium close up used. Her tone of voice, her facial expression and her figure behaviour present her as hysterical and overly-emotional; stereotypical characteristics often associated with women in television drama. The non-diegetic music has a plaintive, sad tone, further reflecting the woman's heightened emotions.
As the woman talks, the director cuts back to the man. The reaction shot, in medium close up, allows us to see his confusion, and we sense that he does not know how to respond to the woman's outburst; stereotypically the male character keeps quiet, possibly fearful that he may upset the woman further. The idea that men are unable to fathom women's reactions, uncertain how to deal with women particularly when they are upset, is another stereotypical representation of gender.
As the man turns away from the woman, the director immediately cuts to an over-the shoulder shot, the man's figure behaviour and facial expression further compounding the fact that he is unsure of how to deal with the situation. Two characters can be seen in the distance, sat around a picnic bench, and the way the shot has been composed implies that the man is seeking their advice about how to deal with the woman. The use of shallow focus makes it difficult for the audience to tell clearly the gender of the characters on the bench, and it initially appears that they are both male. As a male voice suggests that the woman should be allowed to leave, the director cuts back to the previous shot of the man positioned on the left side of the frame (marginalised and helpless as a result of his inability to deal with the situation), as the woman opens the door of a jeep. The extreme long shot of her allows the audience to concentrate on her figure behaviour (which is flustered), but also allows us to see her costume in relation to the setting. She is not dressed in a particularly feminine costume, which seems appropriate considering the setting is a woodland. She wears functional jeans and a body warmer, which may imply that she is at home in this environment. The vehicle that she drives (an old-style jeep) suggests, alongside her costume, a rugged side to her personality, as if she may have traits more commonly associated with men (though the fact she wears her long hair down makes her appear more feminine than Abby, whom we meet later in the scene). As the man turns and walks towards the camera (the camera dollying out as he does so), the medium close up allows use to see his confused expression and his figure behaviour as he shrugs his shoulders; both further indications that, stereotypically, the male does not understand the female.
The director cuts to an extreme long shot of a JCB digger deep in the woodland (a difficult terrain, which would make it harder to control the vehicle), and as the camera pans slowly, the digger moves towards it, revealing that it is being driven by a woman. Whilst the camera pans, a man walks across the frame (wearing a dirty t-shirt, suggesting he is used to physical work; a masculine trait), carrying branches, stereotypically fulfilling the masculine "hunter gatherer" role. In sharp contrast, the director cuts to a long shot of another male character somewhere else in the forest, appearing to set a trap. The camera zooms in slowly towards him, and his figure behaviour (as he lays a leg of meat onto a pit covered by leaves) is delicate, and more typically feminine than either the man in the previous scene or the woman driving the digger. His costume also implies that he looks out of place in the rugged wilderness; he wears a trilby hat and waistcoat, and the t-shirt he wears is pink - traditionally a colour with feminine connotations.
By cutting back to a medium shot of Abby in the digger, the director reinforces the differences between the male and female characters. The editing choice, following the shot of the man immediately with the shot of the woman emphasises the differences in both their figure behaviour and their costumes. Whereas the man's body language was delicate and dainty, Abby's figure behaviour is more confident and assured, as she impressively controls the heavy vehicle. This implies that she has a degree of strength that the audience may more commonly associate with male characters. The medium shot allows us to see Abby's appearance, and her short cropped hair and her dark leather jacket give her a masculine look (later, we see that she is also wearing combat trousers in khaki green, another element of mise-en-scene that goes against stereotypical gender expectations). Enhanced diegetic sound effects, of the digger roaring, emphasise its power, again implying that it is difficult to control. Abby's figure behaviour shows that she is perfectly capable of controlling such a cumbersome machine, representation which is reinforced by the smooth editing as the director cuts from Abby's movements to the ground being carefully excavated.
The scene begins with a two shot of a male and female character in medium close up. The camera dollies, tracking them as they walk away from the camera and towards two parked cars. Their figure behaviour suggests that they may have had an argument, and it is clear that the woman is distressed. The man's arm is placed around the back of the woman, as if he is comforting her; a representation of the male as gentlemanly. In contrast, as the director cuts to an over-the-shoulder shot facing the woman, we can see that she is upset; her emotion is clearly visible because of the medium close up used. Her tone of voice, her facial expression and her figure behaviour present her as hysterical and overly-emotional; stereotypical characteristics often associated with women in television drama. The non-diegetic music has a plaintive, sad tone, further reflecting the woman's heightened emotions.
As the woman talks, the director cuts back to the man. The reaction shot, in medium close up, allows us to see his confusion, and we sense that he does not know how to respond to the woman's outburst; stereotypically the male character keeps quiet, possibly fearful that he may upset the woman further. The idea that men are unable to fathom women's reactions, uncertain how to deal with women particularly when they are upset, is another stereotypical representation of gender.
As the man turns away from the woman, the director immediately cuts to an over-the shoulder shot, the man's figure behaviour and facial expression further compounding the fact that he is unsure of how to deal with the situation. Two characters can be seen in the distance, sat around a picnic bench, and the way the shot has been composed implies that the man is seeking their advice about how to deal with the woman. The use of shallow focus makes it difficult for the audience to tell clearly the gender of the characters on the bench, and it initially appears that they are both male. As a male voice suggests that the woman should be allowed to leave, the director cuts back to the previous shot of the man positioned on the left side of the frame (marginalised and helpless as a result of his inability to deal with the situation), as the woman opens the door of a jeep. The extreme long shot of her allows the audience to concentrate on her figure behaviour (which is flustered), but also allows us to see her costume in relation to the setting. She is not dressed in a particularly feminine costume, which seems appropriate considering the setting is a woodland. She wears functional jeans and a body warmer, which may imply that she is at home in this environment. The vehicle that she drives (an old-style jeep) suggests, alongside her costume, a rugged side to her personality, as if she may have traits more commonly associated with men (though the fact she wears her long hair down makes her appear more feminine than Abby, whom we meet later in the scene). As the man turns and walks towards the camera (the camera dollying out as he does so), the medium close up allows use to see his confused expression and his figure behaviour as he shrugs his shoulders; both further indications that, stereotypically, the male does not understand the female.
The director cuts to an extreme long shot of a JCB digger deep in the woodland (a difficult terrain, which would make it harder to control the vehicle), and as the camera pans slowly, the digger moves towards it, revealing that it is being driven by a woman. Whilst the camera pans, a man walks across the frame (wearing a dirty t-shirt, suggesting he is used to physical work; a masculine trait), carrying branches, stereotypically fulfilling the masculine "hunter gatherer" role. In sharp contrast, the director cuts to a long shot of another male character somewhere else in the forest, appearing to set a trap. The camera zooms in slowly towards him, and his figure behaviour (as he lays a leg of meat onto a pit covered by leaves) is delicate, and more typically feminine than either the man in the previous scene or the woman driving the digger. His costume also implies that he looks out of place in the rugged wilderness; he wears a trilby hat and waistcoat, and the t-shirt he wears is pink - traditionally a colour with feminine connotations.
By cutting back to a medium shot of Abby in the digger, the director reinforces the differences between the male and female characters. The editing choice, following the shot of the man immediately with the shot of the woman emphasises the differences in both their figure behaviour and their costumes. Whereas the man's body language was delicate and dainty, Abby's figure behaviour is more confident and assured, as she impressively controls the heavy vehicle. This implies that she has a degree of strength that the audience may more commonly associate with male characters. The medium shot allows us to see Abby's appearance, and her short cropped hair and her dark leather jacket give her a masculine look (later, we see that she is also wearing combat trousers in khaki green, another element of mise-en-scene that goes against stereotypical gender expectations). Enhanced diegetic sound effects, of the digger roaring, emphasise its power, again implying that it is difficult to control. Abby's figure behaviour shows that she is perfectly capable of controlling such a cumbersome machine, representation which is reinforced by the smooth editing as the director cuts from Abby's movements to the ground being carefully excavated.
