Eastenders Analysis Regional Identity and Ethnicity Representations Essay -

Eastenders -  https://www.youtube.com/watch?v=heA414lv6gc

Camera:

• Medium shot
• Medium three shot
• Close-up on phone

Editing:

• Jump/ straight cuts
• Cut in on the phone

Mise-en-scene:

• Matriarchal family figures: Cora, Zainab, Sharon and Carol
• Zainab states that the damage of property could be considered a hate crime against Muslims
• Zainab refers to the young people of London as 'hoodlums'
• Carol assumes that Zainab lives in a council house
• Zainab is regional manager of the area
• The application of an Asian family to own the local corner store (stereotype)

Sound:

• East London accents
• Pakistani accents

Other:

• Setting: East London
• Racial Groups: London, Pakistani
• Stereotypes: Council houses due to low income of the region

Essay -

How are regional identity and ethnicity presented in the media text 'Eastenders'?

The media text 'Eastenders' depicts multiple theories and social groups within the episode stated above.

To begin with, the establishing shot demonstrates the setting as East London, a significant culturally diverse population, which is also represented in the cast of the TV soap. Social, racial and regional groups are all displayed within the programme. For instance, mise-en-scene is important in indicating both regional and racial identity in the episode through the use of matriarchal family structures. Possibly the most significant matriarch is Zainab Masood. The character of Zainab Masood is from Pakistani heritage in which the cultural norm is for the females to be dictated by their male counterparts such as fathers, brothers and husbands. Zainab Masood is therefore flouting the ideologies of her ethnicity, despite her role as matriarch still being domestic, whilst conforming more to the regional identity of the powerful working businesswoman in modern London.

Furthermore, sound also plays a large role in exemplifying ethnicity and regional identity through the use of accent, dialect and socialect within dialogue in the text. Accent is the sound of pronunciation influenced by ethnicity and regional identity whilst sociolect is language used by social groups and finally dialect is language used by certain regions and subcultures. For example, accent introduces the ephemeral regional identity and ethnicity that is present due to the contrasting variety of accents including those of East London and Pakistani.

Also, the mise-en-scene in the development of plot helps to exaggerate ethnicity within the media production. The ethnic stereotype that Asian families run local shops is supported by the secondary plot of the Masood's applying for ownership of the 'Minute Mart'. Thus, this develops stereotypical ideal in the representation of ethnicities and regional identity within East London.

Additionally, another example of regional identity is the feature of production, mise-en-scene. A stereotype associated with the regional area of East London is the much stigmatised idea that residents all occupy council housing. An example of this from within the episode is when the character of Carol assumes that Zainab lives in a council house to which the response is far from satisfied. As a result, the ideas that council housing is a negative stereotype within London is supported by the episode through the use of character and dialogue.

Finally, regional identity is further represented through dialogue and character in the media production 'Eastenders'. The idea that the East London region is full of young people who all misbehave and belong to delinquent youth anti-society subcultures, relating to Cohen's theory on youth subculture representation within media being over presented, is shown through Zainab referring to the character of Lauren as a 'hoodlum' resulting from the party culture held by the character. This is a regional identity based stereotype about London which is supported due to the norms and values held by the producer which is then imparted to the receiver therefore enforcing hegemony.

To conclude, regional identity and ethnicity displayed in the episode of 'Eastenders' could easily be interpreted as biased and influenced by the ideals held by the producer rather than being a more representative example of the reality within an East London region and the depiction of specific ethnicities.

Regional Dialect in Doc Martin Essay -

Discuss the Representation of Regional Identity in the Clip Doc Martin - 

In the clip Doc Martin there is a strong reference to regional identity through the depiction of the Cornish and the contrasting Londoner Doc Martin himself. Regional is displayed through the four main roles within production and these are: camera, sound, editing and mise-en-scene. 

To begin with, camera techniques are used to display regional identity through implication and connotation. For instance, a low angle camera shot is used when setting the scene of Doc Martin's general practice; this is relevant as the low angle shot is focused on a young Cornish plumber in blue overalls. The connotation of a low camera angle is that the person within the frame of the scene is shown to be of lower class or displayed as inferior to the others. Dyer (1979) states that stereotypes are all about power, those with power stereotype those without it and as a result Doc Martin forms stereotypes about the local Cornish people. Doc Martin, as a qualified doctor and from a region of more wealth and status, is displayed as middle class through mid body shots rather than low angle shots portraying the working class status of the Cornish plumber. This reinforces the idea of social hierarchy with the people from a middle class background being educated and in a skilled professional position of power whilst the people from the working class background are presented as uneducated manual labourers. Furthermore, the panning shot following the two characters down the small town high street depicts the regional identity of living in a rural Cornish area. The scenery shown is small unique shops with the cliffs of the coast nearby, this depicts the quaint relaxed lifestyle of the villagers in the extremely southern region of the United Kingdom. The speed of the panning shots was also relevant as the panning shot was slow which reflected the slow lives lived by the inhabitants of the rural area and this depicted the two characters, of which one was a foil, stressing the differences between the calm and somewhat slow Cornish people and the fast paced stressed Londoner Doc Martin. 

Secondly, sound and accent are also significant in depicting regional identity in the media text Doc Martin. The most obvious example of sound is accent and dialect employed by the characters. For example, the dialect synonym for someone who is in a state of declining mental health is referred to as "going Bodmin" which is a local moor that people tend to walk towards when going mad. Additionally, the use of music in the production is implicitly linked to regional identity due to the pace, tempo and tone. For instance, the music was comical and of a slow pace therefore in keeping with assumptions of the west country people as country 'bumpkins' with a slow mentality and lack of education but this is only a stereotype.

Furthermore, editing also plays a role in showing regional identity through the use of jump cuts. Jump cuts would normally be linked to a fast pace but in the context of this media production it is used to show the stark contrast between the middle class Londoner, Doc Martin, and the working class Cornishmen. For instance, at the beginning of the clip there is a quick succession of jump cuts when the water main bursts and this cuts between the face of Doc Martin and the faces of the plumbers. This particular scene is not only an example of regional identity but also of class divide. Doc Martin is a middle class Londoner who is out of place against the working class Cornishmen but still holds a position of superiority over them despite his status as an outsider. The theorist Gramsci discussed hegemony from a marxist perspective which suggested that media reinforced capitalist ideals through the depiction of regional identity and class divide. Hegemony is when the norms and values of the higher classes are imparted onto the working classes forcing them to adhere to their social position. The jump cuts placed Doc Martin in the position of power over the others reinforcing the ideas that regional and stereotypically working class areas are still controlled by a patriarchal figure representing the hierarchical structure of inequality due to region and class within society.

Finally, mise-en-scene which can be argued as the most important factor in media productions is another way of demonstrating regional identity in the text Doc Martin. The stereotypes of the rural Cornish regional area are reinforced through the muse-en-scene of setting, character, props and costume. For instance, the setting of the village is depicted as a small place in which everyone knows everyone else; the elderly lady moving cabbages, who requested Doc Martins' help, tells him the name of the women who he had previously met and was looking at. Furthermore, the plumbers were a small village family business, a father and son team, working in a manual labour trade representative of the regional working class areas due to lack of a high class education; this is further supported through Doc Martin suggesting that the older plumber should get a mop and learn how to use it when the water main burst. Additionally, the costume of the blue boiler suit worn by the two plumbers implies a working class, blue collar, trade. The blue boiler suit costume further supports the connotation of the blue collar working class whilst Doc Martin was wearing a white shirt that represents the white collar middle to upper classes further reinforcing the idea of regional identity being strongly related to the class divides.

Therefore, regional identity can be displayed through the variety of production means of camera, sound, editing and miss-en-scene in the media text Doc Martin. Not only is regional identity represented in the clip but so is the class divide and hegemony and as a result some theorists can be applied to the text as well; this relates to the theorists Branston and Stafford (2001) who state that soaps rely on archetypal characters and stereotypes that are readily accessible to entertain families and communities. As a result, the show can be perceived in either way as biased or non-biased. Some audiences would believe the media programme to be biased as Doc Martin is perceived as more intelligent and of a higher class than the Cornish people who are presented as un-educated farm workers who live in a small village.

Extension/ Improvement Paragraphs - 

Additionally, regional identity is presented through make-up, or lack thereof, in the media text Doc Martin. Very few, if any, of the characters, stereotypically females, wear make-up. Within society it is perceived that make-up is usually worn by young women and in rural areas the stereotype is that the elderly and retired live there; therefore the lack of make-up is representative of an ageing population which is a stereotype associated with rural regions such as Cornwall. Also, the females presented in the media text are depicted as manual labourers who would not need to wear make-up in their everyday life especially compared to someone who is from Doc Martin's region of London where appearance is vital is certain workplaces.

Moreover, props are also significant in representing regional identity for instance through the use of the vegetable cart prop. A member of the village who Doc Martin stops to speak to is emptying a cart of cabbages and delivering them to local businesses. This displays regional identity as it implies the farming lifestyle of the rural Cornish people and that all businesses are small local businesses that work in cohesion with local farmers to keep the urban lifestyle away from their village.

Regional Dialect In Doc Martin Analysis -

Doc Martin -

Editing:

• Jump cuts to show the stark difference between the Londoner and the Cornish/ Devonshire people

Sound:

• The accents of characters
• 'Bodmin' meaning crazy
• Calling an adult 'boy' 
• Comical slow yet upbeat music supports the idea of country 'bumpkins'

Camera:

• Low angle camera shot shows the lower class status
• Panning shot following them down the small town high-street in the cliff tops

Mise-en-scene:

•  They don't use nouns
• Cornish/ Devonshire people are uneducated
• The Cornish man is lazy
• The southerner is out of place
• Small town where everyone knows everyone
• Family businesses
• Doc Martin suggests that the northerners don't even know how to use a mop
• Blue jumpsuits for working class (blue collar workers) plumbers family business
• Vegetable cart prop

How to Identify Regional Identity - 

• Setting
• Accent
• Dialogue
• Props
• Makeup
• Class of characters
• Costumes

Regional Identity Stereotypes -

Northerners -  (Shameless)

• Fondness for gravy
• Enjoy chips and gravy
• More adapted to the cold weather
• Prefer more rural areas
• Typically members of the working and middle class

Southerners - (T.O.W.I.E.)

• Poor, common, criminals, working class
• Glamorous but cheap
• Essex people are orange
• Essex teenage pregnancy
• Essex underage drinking
• Essex drugs
• Essex everyone is fake (plastic surgery)
• Essex people are dumb
• Obsessed with beer and football

Southerners - (Made in Chelsea)

• Rich
• Posh
• Snobby
• Upper class
• Classy
• Modern
• Centre of culture
• More associated with being upper class (closer to the capital)
• More expensive tastes

English -

• Drink a lot of tea
• Everyone speaks a posh tea accent
• Fish and chips
• Afternoon tea
• Polite
• We like queuing
• Complain about the weather
• Racist

Irish -

• Pale
• Ginger
• Heavy drinkers
• Love potatoes
• Swear
• Gossip
• Loud
• Confrontational
• Dancing and singing
• Friendly
• Religious (Catholic and Protestant)

Scots -

• Angry people
• Hate the english
• Bagpipes
• Kilts
• Patriotic
• Red haired
• Highland games
• Don't like the british

Devon/ Somerset - 

• Countryside
• Live on farms
• Considered mentally slower than those in the south
• Close community (wary of outsiders)
• Outspoken

Yorkshire -

• Love tea
• Live in rural the countryside
• Dull
• Cobbled streets
• Rolling hills

Liverpool/ Manchester/ Newcastle - (Brookside)

• Women wear rollers outside 
• Over drawn eyebrows
• Mostly working class
• Placing "our" in front of names
• Tracksuits
• Like a fight
• Fake designer labels
• Aggressive
• Drink a lot
• Uneducated
• Chavs

Welsh -

• Living in the countryside
• "Sheep shagging"
• All farmers
• Love rugby

T.P.E.E -

• Terminology
• Point
• Evidence
• Explanation

Adele 'Hello' Music Video Analysis -

Analysis -        


        

Luther Theorist Essay -

Luther Essay –

The media production ‘Luther’, in the form of a TV crime drama, can have multiple theorists and theories applied to it. Specific theorists include those of Propp, Straus and Barthes. 

Firstly, Propp’s theory outlines common character traits that are typically featured within media texts. The character archetypes featured in the drama include anti-hero, helper, dispatcher and villain. The anti-hero of the production is DCI John Luther who completes his role as a police officer in a series of immoral events. For instance, whilst Luther is on the side of the law he carries an illegal weapon that he could use if circumstances demanded nefarious behaviour. Furthermore, Luther also kidnaps a crime boss, George Cornelius, and handcuffed him to a radiator in an abandoned building in order to gain information on a case, which he was not to be involved in. The helper of the program is DS Emma Lane who aids the anti-hero, Luther, in his endeavours to solve the cannibal killer case and capture the criminal. For example, DS Emma Lane takes the law into her own hands when she steals Luther’s weapon and shoots the criminal in order to rescue a civilian family. Also, the dispatcher is Megan, the fake psychic, who drip-feeds Luther information that she has acquired through previous connections allowing Luther to complete a previously unfulfilled promise. Moreover, the villain of the episode is Steven Rose who is the serial killer responsible for the string of murders and cannibalism of the bodies.

Secondly, Straus’ theory revolves heavily around opposites such as binary opposites between good and evil and conflicting moral characteristics represented in the anti-hero. Binary opposites bear a striking resemblance to the foil method; this discusses the way in which the audience learns more about both of the characters presented due to their differences exposing their characteristics. The most significant opposites present in the episodes are that of the criminals and the law enforcers, the anti-hero DCI John Luther and the criminals of each episode and finally, more implicitly, the conflicting opposites within Luther’s mind of morality and actions governed by his emotions.                           

Finally, Barthes’ theory describes narratives as “a ball of string” that “can be unravelled in either one or many ways”. Barthes created five narrative codes, three of which were featured heavily throughout the two episodes of ‘Luther’. The three theories depicted within the characters of the program most significantly are the Enigma code, Action code and the Semantic code. The first code is the Enigma code that refers to elements of the story that are not fully explained therefore creating a mystery for the audience to unravel. Additionally, this code works with the Action code to develop tension and engage the audience. For instance, examples of the enigma code within ‘Luther’, as a series, include the mystery surrounding Alice Morgan, her relation to the diamonds and how and why she died. Although, there is also another episode specific plot enigma code revolving around the acts of a deranged, cannibal, serial killer; the audience are unaware as to why the killer has contracted Cortard Delusion and why he devours the specific body parts from various victims. Furthermore, the Action code is also apparent within the media production ‘Luther’ for example the return of the character Luther was solely down to the fact that Alice Morgan died, the serial-killers murder of the first victim lead to an investigation involving Luther, the death of Theo leading to Emma’s somewhat immoral investigation into the murderer and Luther kidnapping a crime boss to receive information about Alice Morgan’s death resulted in him being targeted by hitmen. Also, the Semantic code is blood connoting death and the dismembering of bodies whilst the sudden death of the pigeon, which the first murder victim mistook for an intruder, foreshadowed and connoted the death of the victim.

To conclude, multiple theories can be applied to the media production of ‘Luther’.

Luther Crime Drama Narrative Theory Analysis -

Propp:

• Anti-hero: DCI John Luther (a hero who acts in occasional immoral ways)
• The Helper: George Cornelius (a crime boss who helps Luther solve part of a case)
• The Helper: DS Emma Lane (a police officer who works with Luther)
• Villain: Steven Rose (a serial killer known for his cannibalism)
• The Dispatcher: Megan the 'clairvoyant' (provides the message from 'Alice' to Luther)

Straus:

• Binary opposites of good and evil
• The opposites of the police and the criminals
• Opposites between the anti-hero DCI Luther and the villain of each episode, for example the criminal, in this case Steven Rose.
• Conflicting opposites in Luther's mind between morality and action governed by violation of his position as a police officer.

Barthes:

• The crime drama is open and able to unravel in a variety of different ways.
• Enigma code: who killed Alice Morgan, where were the diamonds hidden, what made the murderer the way he is, why did the murderer kill those specific people, why did the murderer eat specific parts of each victim.
• Action code: the murderer killing the first victim leading to the investigation and the death of the cannibal killer, Luther coming back onto the scene after Alice's death, Luther kidnapping the crime boss which leads to him being targeted by hitmen.  
• Semantic code: blood connoting death and the dismembering of bodies, the sudden death of the pigeon which the first murder victim mistakes for an intruder. 

Roland Barthes Narrative Theory and Criminal Programme Analysis -

Barthes Narrative Theory:

Semiology - study of signs

Open or Closed story
Open = Lots of ways to unravel
Closed = Only one way to unravel

1. Enigma Code
2. Action Code
3. Semantic Code
4. Symbolic Code
5. Referential / Cultural Code

Enigma Code -
The audience do not fully know what is happening until the final scene when all loose ends are tied up.

Action Code -
Any action that implies a further narrative action.

Semantic Code -
Connotation within the story that gives additional information more than the basic denotation.

Symbolic Code -
An array of semantic code; multiple symbols with their meanings standing for something larger.

Cultural Code-
Anything that cannot be challenged and is assumed to be the truth.

Luther Analysis: 

Camera:
Pan shot round the character Luther standing on the edge of a building
Over the head tilt
Extreme close-up on Luther's face
Close-up on the food being scanned at the checkout could foreshadow the eating of the organs of the murder victims
Over the shoulder shot whilst the female sits with the murderer in the background
Long shot as the police officer Theo heads towards the fridge which he believes to be containing the head and hands of a murder victim but instead it explodes

Mise-en-scene:
Creepy doll in the corner of the house with the alone female
The pigeon which the female thought to be an intruder died suddenly (foreshadowing)

Sound:
The scream as the female is stabbed and presumably murdered by the intruder
The music suddenly gets loud as the assumed murderer stands sinisterly
The music as Luther walks into the pub is loud and then suddenly stops and begins again
The edited creepy nursery rhyme music to create tensions and fear in the audience

Editing:
Quick cuts between scenes