Section A - Exemplar A grade answer - REPRESENTATION OF SEXUALITY

1. Discuss the ways in which the extract constructs the representation of sexuality using the following:

• Camera shots, angle, movement and composition
• Editing
• Sound
• Mise-en-scene (50 marks)

The opening scene in this tv drama 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 motion emphasising 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 angle reinforces 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 shot inside 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. (48 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.