The first shot is a high angle of the protagonist
as she walks into a mediation of the antagonist’s lair, which is an establishing
shot of a male gaze as the female protagonist is looked down on. There is a
shot reverse shot as there is a close up of the antagonist at the top of the
stairs, which is at a low angle. This is a representational issue of gender as
the female protagonist is at the bottom of the stairs at a mid-shot, which
emphasises the antagonist superiority in which the lighting is quite dull,
however, there is more lighting on the antagonist; emphasising his superiority.
Also, there is a low angle shot of the protagonist looking up to the antagonist;
emphasising her vulnerability.
There is a slight pan of the three female characters
dressed in maid outfits. This is a representational issue of gender as this
represents their low position whereas the male characters are dressed in
security attire, which emphasises their masculinity and higher position in
comparison to the three females.
However, the female protagonist is dressed in black
defence attire, which highlights her inner masculinity, also emphasising the
issue that women can equally do jobs that men can do. The antagonist is dressed
in a black formal business suit. The ‘black’ connotates evil as the antagonist
is trying to take over the world and the business attire emphasises that he is
in control.
The various shots are clipped back and forth
between each other to capture the characters dialogue and facial expressions.
There is a short cut between the mid-shot of the and the close up of the
antagonist. However, the shot of the antagonist lasts longer, which emphasises
his superiority.
There is a non-diegetic sound of score playing in
the background, which sounds quite suspenseful and eerie. We then hear the
diegetic sound of dialogue in which the antagonist is the first to speak. This is
a representational issue of gender as the antagonist wants to show that he is
in control. Then there is a medium wide shot of a creature in a cage, held
under captivity. This highlights the antagonist’s capability and strength,
which are considered to be masculine aspects. Then there is the diegetic sound
of dialogue as the antagonist tells the protagonist to give over her gadgets
and tell her to kneel. This is a representational issue of gender as this
emphasises the antagonist’s demeanour as he acts like a king.
Then there is a medium wide shot of rockets as
the antagonist is ready to launch them in which it is a female’s voice
commanded by the antagonist; emphasising male domination, which is a form of
hegemonic norms. He then aims a weapon at the protagonist as a sign of warning.
The weapons and the gadgets resemble masculinity as these are what majority of
the male characters have in the clip along with the female protagonist. This contradicts
the representational issue of gender as the protagonist is emphasising that women
are just as capable as men.
The audience notices that there is a female
character dressed in a red dress on the side of the antagonist as his sidekick.
Red connotates danger as this idea supports the antagonists evil plan. There is
a close up of a digital stopwatch; emphasising the amount of time left for the
protagonist to come up with a plan in which it clips to a flashback of people
saying ‘doctor.’ It then clips back to the present in which there is the
diegetic sound of dialogue and people repeating the word ‘doctor.’ Then there
is a medium wide shot of the creature in the cage transforming into the doctor
in which we hear the diegetic sound of dialogue from the antagonist and the
diegetic sound of alarms. There is a high angle of the antagonist walking down
the steps to defend himself from the doctor and the alien gadgets; losing his
superiority as there is a low angle and shot reverse shot of the doctor rising
above the antagonist, gaining his superiority. This is a representational issue
of gender as it is a male character defeating the antagonist and saving the day
instead of the female protagonist, which represents binary opposites.
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