Representation Codes & Conventions

Ethnicity and Social Status
Social class and ethnicity are key areas of representation in any film. In earlier films, people of colour were seen as well, bad. This is because racism was at its peak. Films represented black people as having the lowest level of status. They were defined by their skin colour and often completely dismissed by a dominant society of white people. Films used this as the 'normal' and black people were used in roles like slaves, thugs and maids.

However, in modern times, people of colour are still used to represent the lesser people in society, they way in which they are filmed and presented is often used for an audience to be sympathetic. For example, in this scene we are made to feel sympathy for the maid, Abeline. It begins with a close up shot that is very confronting. But, since the maid is not looking directly at the camera, we understand that it is her reaction to something being said. One of the most effective shots in this scene is the high angle shot we get that looks down on the little girl and soon enough, the maid herself. The high angle shots looking down on Abel and the small girl, represents how they are treated as the same. Abeline is looked at as a child and to an adult, she would be seen as nothing but a person who should receive instruction.

There are no significant transitions between shots and jump cuts are used to create the upsetting atmosphere. While Abel and the young girl talk, the camera shakes a little which represents the unstable environment that the both of them are living in. The only dialogue is between Abel and the child, the camera is close up on them which shows that they are having an intimate moment. The mise en scene of this particular scene shows a home filled with vibrant colours and clutter, it is a home of privilege. Abel wears a blue and white maid uniform, a huge contrast to the bright oranges and greens that surround her. The uniform represents how she has to conform to societies standards and live as nothing but a maid.

As she walks away, the camera tracks backward, following her. The effect this has shows that she has to take yet another journey but we do not know where exactly she is going because we don't see anything beyond the camera. The voice over is used to inform the audience of Abeline's true thoughts and feelings. It is a mixture of diegetic and non-diegetic sound that creates the sympathetic atmosphere. A slow paced tune played on the piano, screams of the young child and voice of Abeline plays with the audience's feelings.




Relationships 
Relationships in Hollywood are often represented as bent but not broken. In some cases they are completely broken but those pieces are often put together by someone or something else. To create intimacy and the feeling of being one, close up camera angles and mid two shots are often used. Intense relationship scenes also rely on non-diegtic sound to exaggerate the emotions. It is ironic that they have to exaggerate a relationship because it makes audience's want to relate to it. Not all couples are going to live up to televisions exciting standards, but to fulfil what they cannot have in real life, they indulge in tv and films.

An example of an exaggerated yet exciting relationship is the one between Toby Cavanaugh and Spencer Hastings in the show pretty little liars. Diegetic sound is used immediately to build a type of suspense and the camera pans up to see Spencer's face. When Toby's head pops up behind the window, it is accompanied by a non-diegetic screeching sound.  This creates an uneasy feeling for the audience. The filming of her reaction to a noise outside is done from outside a window, this creates a separation and the fact that her lover is on the outside shows that there may be secrets hidden within their relationship. (If you watch the series, you will know this is true.)

Iconography in this scene is also important as we see Toby giving his girlfriend flowers. Typically, red roses will be used to represent love. However, here Toby gives her a bouquet of white roses with pink at the tips. The pink could be seen as friendship but white roses are always associated with funerals. For anyone who watches the show, death is a huge theme and for Toby to be giving Spencer death flowers foreshadows his involvement in later events. As Toby follows Spencer, we change from a mid shot of him to his point of view shot. As the audience we are placed in Toby's footsteps. The shakiness of the camera brings an uneasiness. This scene seems to subvert the modernised idea of a healthy, loving relationship and Toby seems to be more of a stalker than a boyfriend.




Identity
In any film, identity is always a key theme. Identity can be regional (relating to origins of the person) or a battling conflict within the person themselves. Camera tricks are often used to portray identities as an internal struggle. It'll often shake and tilt to disorientate the audience. Internal identity is used more often in film as it creates an environment that the audience can pull their own self into. In many films, identity is the main theme but it is only brought out by the character taking a completely different journey. Identity is often seen in mirrors as these create a 'window' into another world where the person is able to see their true self, their soul.

In this scene from the 2010 film 'Black Swan' we have an over the shoulder shot of the main character   in front of a mirror. It is important to note that her body is directly on the line of thirds in the right hand of the screen. The back of her body is blurred and our eyes directly move to her body that is much more focussed. The multiple images of her in the mirror show that she has more than one personality and that even she doesn't know how to separate them from each other. All sound is dietetic and even so, there is hardly any sound at all. The eerie silence creates an uncomfortable atmosphere, the harsh tone of the woman dressing the ballerina doesn't bring any comfort either. This convention is used in films to show the audience how upsetting no sound can be and in the case of this, the empty silence is a representation of the empty identity that this woman has to find.

The camera's pan around the back of the ballerina's neck creates the effect of two different sides. In a sense, we can think of it like vice and virtue sitting on either side of the ballerina's shoulder, as we turn and go over one we see the effect of vice as a reflection in the mirror. The second she turns around, a non-diegetic brass instrument sound is added to heighten the scary mood. The reflection doesn't look like what's in front of it. In fact it seems to parallel the action of the ballerina and turns around to look at her. Which one is reality? The effect os this is to leave rhetorical questions in the head of the viewer. A convention that many thriller films use to get their audiences more engaged in the film.




Age 
In film, age can be categorised in many different ways. The four main categories are: children, teenagers, adults and elderly. Each have their own characteristics associated with them. For example:
- Children: Limited knowledge but to themselves they know a lot, clumsy, naughty, mischievous
- Youths: Rebellious -  involved with violence and substance abuse, dismissive
- Elderly: Grumpy, burdened, mentally challenged
Each age group can be shown both positively and negatively by media but it isn't often that media will divert these characteristics unless it is critical to the films plot.

An example of age representation can be clearly seen in this scene from the 2004 film 'Thirteen'.
In this scene we see the classic representation of a rebellious teenager. The camera is not still at all and it is clearly being hand held. The shakiness of the camera clearly shows that there is disorientation and upset in the family home. The conflict between the parent and teenage daughter is seen with the swish pan effect. The camera doesn't cut between shots and instead follows each of the characters. The fast movement pans create a blur showing that there is something stopping the two age groups from reaching a clear understanding of each other. This shot in particular is important as we see an adult who is supposed to have authority, being confronted by someone much younger. The camera is currently level with the teenager meaning the audience is more inclined to see things from her point of view. The rule of thirds applies here as we see each person in their own section of the screen. The mother is in the far right side of the screen and she appears smaller than the other characters which again references adults having little authority over rebellious teenagers.

Gender

In films and television, the male and female genders are represented as almost the total opposite of each other. Males are seen as dominant, powerful and tough while the females are usually objectified and seen as the weaker of the two. Males are seen as masculine while females are seen as feminine and fragile. Woman seem to be casted to focus on beauty and physique and they will add to the emotional value of the film. They're definitely a lot more emotional than the men in films. While males are casted to show strength and agility and believe it or not, most movies are created to appeal to woman which is why men with fantastic physique are chosen for lead roles so that women are more likely to watch a film for the lead and his 'hot body'. Laura Mulvey's theory of the Female Gaze can be applied to many films. Mulvey observes that women are objectified to become objects of male desire in television and shows because male pleasure is derived from looking passively at females. Though men are often casted in film so it appeals to women, females are often used in films to appeal to men. 

An example of the 'Male Gaze' theory is clearly seen in a scene from the 2013 film 'The Wolf of Wall Street'. Mulvey's theory also states that films force audiences to watch the film from the males perspective. The first time we see Naomi, it is from Jordan's point of view. He is currently much higher above her which accounts for the high angle shot. Jordan being placed higher above her shows that he has authority and can power over her while the panning up of her body shows that her presence is there to be admired. 

For about 8 seconds, there is a close up on Naomi's face. This allows what Mulvey describes as a moment of 'erotic contemplation'. Those watching are invited to feast on her beauty before the surroundings are taken in. The party like atmosphere seems to be completely focussed on this one girl as we hear amplified diegetic sound of a variety of profanities that are being spoken about her. In regards to the rest of the film, she only exists in relation to Jordan. Naomi is just an object to him and since the movie is from his point of view, to the audience she is only seen as an object. 

Physical Disability

People with physical disabilities are often portrayed as weak and in need of help. They are more than likely the lead when played in films and the plot will usually show them taking a journey that shows their coping with their disability. Films with physically disabled characters are often based on true stories which appeals to a variety of audiences as they evoke emotion.

In this example from the 2011 film 'Soul Surfer' we see that though conversation is focussed on the girl with the disability, there is one family member singled out. The mother is often in her own shots. This shows exclusion. This subverts the convention of having the disable person as the 'outsider'. Bethany is always in shots with either her brother or fathers while her mother is singled out, showing her dislike for the idea of Bethany having a prosthetic arm. The only sound used here is diegetic which creates the family atmosphere and adds a seriousness to the scene that would not be there had they added non-diegetic sound. The conversation is obviously important in that sense as it will eventually lead to a change in Bethany's life - it will improve her ability to surf.