Question 1b. Analysing through Media Language

For my A2 Portfolio I chose to make a five-minute short in the social realist genre, ‘I am Phoenix’, which introduces the story of a girl who seeks to make a living for herself in the dire circumstances she faces. Within media language, my analysis focuses primarily on the mise en scene, camera work, sound and editing to show how my film opening represents my strong female character and how her hope in the capitalist system allows her to become something.

Mise en scene plays a vital part in my film opening to establish the genre and narrative. In line with Todorov’s narrative theory, my film subverts having an initial establishment of equilibrium as being a social realist it’s not common we begin in a state of harmony, but life is constantly upsetting the piece, this is a typical convention for social realist films. Somewhat similar to Mia in ‘Fish tank’ it opens in state of disequilibrium as her mother and her are arguing. My protagonist’s journey to get out of the house symbolizes a greater journey that she embarks to find her freedoms and this continues throughout the narrative. My first few seconds are set on a roadside and within the town area, a place that is familiar to the audience. This helps to introduce them to my as we see her archetypal chav outfit connotes her economic status. A semiotic analysis of her costume suggests strength but a sense fear as the camera is dead set facing her back with her hand in her pockets, giving the impression she is alone and wants to project an image of need and fearlessness. A close-up of her ‘peace hoop earrings’ establishes her further want for harmony and confidence in her appearance.

As theorist Stuart Hall states, ‘Media does not merely reflect the world, but contributes to the shaping of it.’ Verisimilitude is established with the use of real-life locations and carefully-planned mise en scene: once my protagonist walks through the town there is great deal of attention to detail, with lots of busy people arranged on the around the square of shops, local newsagent shops and other actors in the background riding bikes to give the impression of a busy low economic town environment. This enables the audience to recognize very quickly from these signs, and before the use of dialogue, the sort of environment my protagonist is living in.

As for Hall’s ‘contributing to the shape’ of the world, feminist ideology is present in my film opening as it adheres to modern societal expectations of a strong female. My protagonist sets an ideology many women could relate, as it is a 21st century film for a young, contemporary audience. David Gauntlett also argues that “Femininity is not typically a core value for women of today; instead, being feminine is just one of the performances that women choose to employ in everyday life.” Which is exactly what my protagonist is showcasing through being herself.

According to Blumler and Katz’s ‘Uses and Gratifications’ theory, one reason an audience watches a film is to reinforce personal identity and to use a text to judge how to behave in reality. Modern audiences are increasingly demanding strong female characters to whom they can relate, and my film opening provides this through ‘leading by example’. We see a young female character, as Judith Butler theorizes, ‘performing’ a particular identity; My protagonist, Phoenix, is portrayed to show particular interest in a pamphlet, clearly engaged and actively trying to change her ways.

In terms of camera work, my film opening conforms to Claude Levi-Strauss’s theory of binary oppositions by having a demanding and antagonist parents juxtaposed with an innocent young female daughter. This is shown in my camera work by a low angle shot of her father slapping her. By having the audience ‘look up’ to him, I establish him as an intimidating and dominant character, to emphasize the daughter’s circumstances.

Barthes’ enigma code is also at work here as, before the audience is introduced to the father, they see a close-up of Pheonix, the protagonist, stealing a chocolate bar. This creates a mystery as to why she does what she does, that the audience wants to see solved later on in the film. Explained in her final dance sequence.

In terms of editing, the flashback between her dancing and her past – showcasing the victim versus the villain, causes empathy for her and the audience rooting for her to win. Furthermore, the quick cutting of the journey walking through supported by sad music that changes to more upbeat music after locating the pamphlet confirms my aim that, according to Angela McRobbie “There has been a change in focus from the representation of the passive, dependent female to a more confident focus on self.”