Five egocentric friends who run a neighbourhood Irish pub in Philadelphia try to find their way through the adult world of work and relationships. Unfortunately, their warped views and precarious judgments often lead them to trouble, creating myriad uncomfortable situations that usually only get worse before they get better. It's Always Sunny in Philadelphia is an American television sitcom that premiered on FX on August 4, 2005. It moved to FXX beginning with the ninth season, and has remained there since. It was created by Rob McElhenney, who developed it with Glenn Howerton. It is executive produced and primarily written by McElhenney, Howerton, and Charlie Day, all of whom star alongside Kaitlin Olson and Danny DeVito. The series follows the exploits of "The Gang", a group of self-centered friends who run the Irish bar Paddy's Pub in South Philadelphia. The series was renewed for a twelfth season that premiered on January 4, 2017. On April 1, 2016, the series was renewed for a thirteenth and fourteenth season, which will tie it with The Adventures of Ozzie and Harriet as the longest running live-action sitcom in American TV history. Best parts - series 1:
Episode Episode 5, Series 1 Gun Fever Storyline
When Paddy's gets robbed, the gang decides to purchase a gun with many issues. At the same time Dee is dating a mysterious man which the gang suspects to be the robber.
Task 2: Work in groups to consider applying Todorov's equilibrium theory.
Task 3: Work in groups to consider applying Propp's character theory. http://www.imdb.com/title/tt0612822/ Homework: Research the genre of black comedy. Identify other texts of the same genre and consider the issues that they deal with. E-mail findings to ealey_A@sjd.ac.uk by Monday 6th Feb.
Watch complete episode of Always Sunny in Philadelphia Episode 5, Series 1 Gun Fever
Make notes on narrative / genre
Key terms: Black Comedy - style that makes light of subjects that are generally considered serious or taboo.
Task 1:Narrative – Make detailed notes on the narrative events and the order in which they are presented. Make note of what appear to be the most dramatic or significant moments in the narrative. Also make note of how each programme begins and ends (equilibrium). Task 2: Narrative Characters – Make detailed notes on the main characters (who they are, what part they play in the plot etc) and notes on the function of minor characters also, in the plot.
Task 3:. Genre – Make detailed notes on the codes and conventions of the genre. Additionally look for where the genre has been treated in an unconventional way.
You should show that you understand how Drama works but research and make notes first,
Genre:
Black Comedy in Media
Black comedyordark comedyis
a comic style that makes light of subjects that are generally considered
serious or taboo
To recognise that ALL reality TV shows are
constructed to a certain degree.
To consider why audiences watch reality TV.
Key Terms: Diversity -
A broad variety of things or people being included; a range of different things or people.
The fact that there are many different ideas or opinions about something.
Construction -
The way a media text is put together. In a film or television programme this includes the words, images, sounds, design, and other elements.
No one text tells the whole story. Every text tells part of the story from a point of view. Deconstructing a media message can expose the values (and biases) of the media maker and uncover powerful messages.
Patriarchy -
A patriarchal society is seen to favour the masculine over the feminine; men typically have power and control and women have a disadvantaged, lower status.
The repetition and reproduction of these gender roles in the media serves to reinforce patriarchal values, resulting in a narrow range of gender stereotypes.
Dominant ideology
In Marxist philosophy, the term dominant ideology denotes the attitudes, beliefs, values, and morals shared by the majority of the people in a given society. As a mechanism of social control, the dominant ideology frames how the majority of the population thinks about the nature of society, their place in society, and their connection to a social class
*Representations of characters can be constructed to reflect dominant ideology.
For example, the mise en scene may include framed family photographs indicating strong family values or a successful character may be shown to be working hard for his position; long hours, dedication etc.
With it's 360 degree Charter, Channel 4 has set out a commitment to diversity both on and off screen.
David Abraham, Channel 4’s Chief Executive said: “Diversity is baked into Channel 4’s DNA – it’s vital that we are open to the widest variety of voices, and that we nurture new talent from all backgrounds and reflect all of contemporary Britain.
“We have a rich heritage in pioneering programming that has reshaped how we think about diversity from Queer as Folk through to the 2012 Paralympics, but like all media organisations, there is more we can do.
“The launch of our 360° Charter is an opportunity for us to change how we think about diversity and ensure that it’s at the very heart of everything that we do.
First Dates Characters - In line with Channel 4s commitment to diversity the couples on First Dates are heterosexual, homosexual, transgender, old, young, able, disabled, rich, poor and from many racial/ethnic groups. The age pairings for the dates are usually similar.
Task 1: Using the handouts provided, identify the different (stereotypical) representations that the First Dates participants are offering to the audience.
For example; new man, flirty woman, middle aged etc. 5 minutes
The representation of gender on film and TV is a source of constant debate. Popular films and television are frequently criticised for their reinforcement of traditional gender stereotypes, which see the male as active or dominant and the female as passive and controlled by men. These on screen representations reflect a wider, influential social system, known as patriarchy.
A patriarchal society is seen to favour the masculine over the feminine; men typically have power and control and women have a disadvantaged, lower status. The repetition and reproduction of these gender roles in the media serves to reinforce patriarchal ideologies, resulting in a narrow range of gender stereotypes. Traditionally, men are stereotypically portrayed as heroic, adventurous and aggressive whereas women are stereotyped as inferior, domestic or home-based, sex objects or distressed damsels in need of male rescue.
David Gauntlett (2008) argues that today, a wider variety of images and gender representations are offered on screen. For example there are new, stronger screen images of women such as the action hero (Lara Croft) or the detective (Catherine Cawood).
Grayson Perry's recent book The Descent of Man also offers an insight into new male 'types' such as single Dads, hipsters and 'emotional' men. Task 2: To reinforce Gauntlett's theory that a wider variety of gender representations are offered on screen, discuss in groups and make notes about any modern types that you can identify amongst the daters in episode 6 of First Dates. Do any challenge patriarchal values? 10 minutes.
The construction of First Dates: First Dates looks simple, however it is far more lengthy, in-depth and complicated than you might think.
"For each episode there are five dates that you’ll see, and per episode we have filmed seven,” explains Sayers. “So there’s seven dates filmed for five, and on a filming day we essentially film two episodes a day. So we film 14 dates per day in order to get two episodes with ten dates in them each.”
“So every single weekend there are auditions. There are up to 80 people that we see per week.”
we’ve got GoPros in the loos as well!” exclaims Sayers. “And all of the cameras are remotely operated. They’re all at different heights – you have to when people are sitting and when they’re standing, that’s why we can only have three dates in at any one time because we’ve only got a certain amount of cameras that can cover the dates.
“We might have 42 cameras but we’ve only ever got ten streams, so we can only record on ten at a time. Which means if there are three featured dates in, you’ve got a close-up of one person, another close-up of their date and a two shot – then times that by three. So that’s nine of your streams taken up, and then you might have a camera on Fred or on Cici and Laura having a chat in the bar. It’s all quite choreographed."
There are 42 cameras covering every inch of the restaurant.
“We were lucky enough to have access to an online casting database of over 150,000 people which has been running for the last few series,” says Gray. “But we always say with that comes its own problems, because where do you start?
“So we try and start each new series with a wish list of the stories that we want to tell. Obviously we’re on our sixth series now so we have seen a lot of stories before, but there’s always new ones."
The voice-over of Brian Protheroe (male, reassuring, authoritative – these are stereotypical attributes that have been attached, historically to the male ‘voice of authority’ that is a convention of the documentary form). He is our narrative guide through the story of First Dates.
Fred- Fred Sirieix, the Maître D (and Head Waiter), is the presenter of the programme. He introduces each couple through direct address to the camera but not before he delivers his soliloquy on love. Fred is French and the theme of ‘French’ is also continued in the mise-en scene and sound (music) because the French are stereotypically associated with love and romance. Fred tells us that marriage is universal so he reinforces the ideology that drives the show. Participants engage in ‘warm up’ chat with the barman, Merlin Griffiths who asks them what they are looking for in a date. Fred wears a blue suit. This colour has connotations of security and trust. Waiters - Provide another insight for the audience. For example by talking to one participant about the progress of the date while the other has gone to the toilet. The waiters are the same in each episode. Their uniform is brown. This colour has connotations of permanence.
Cici Coleman, 29 - waitress. She has lots of anecdotes and amusing observations.
Laura Tott, 22 - waitress. She never studied but has travelled broadly and describes herself as a graduate from the University of Life
In order to access higher level ‒ you are required to discuss the ways in which people are represented within the text. Do not simply describe their roles.
Points covered may include reference to:
Characters, roles and attitudes
Appearance – dress codes, body language, mode of address
Stereotypes, traditional or unconventional representations
Theory as appropriate – for example Mulvey, Alvarado, Gauntlett.
___________________________________________
Homework: Watch Episode 6 of First Dates again and answer the following question (in relation to First Dates only). Consider David Gauntlett's theory. At least 200 words. Explore the different ways in which people are represented in your text. [30] Complete this task for Wednesday Feb. 1st. E-mail to ealey_A@sjd.ac.uk
Develop initial classnotes made when watching episode 6 of First Dates.
Produce diagrams that focus on the concepts of Genre and Narrative.
Key terms:
Repertoire of elements -These are the key features that separate one genre from another.
A text is classified in a genre through the identification of key elements which occur in that text and in others of the same genre. These elements may be referred to as paradigms, and range from costume to music to plot points to font (depending on the medium). Audiences recognise these paradigms, and bring a set of expectations to their reading of the text accordingly: the criminal will be brought to justice at the end of the police thriller.
Starter task:
Discuss and note the paradigms that you would expect from a reality show called First Dates.
First Dates is an example of hybrid genre incorporating aspects of reality TV and lifestyle. It is a prime time channel 4 show. Channel 4 have a history of youth programming with challenging opinions and stereotypes. The ideology of the channel expresses a liberal attitude towards sexuality and LGBT visibility, in addition, they give a voice to disabled and injured people. First Dates gives an insight into the values of the British public.
Genre:
We can identify the genre of the text by reading the visualand technical codes and how they conform to genre conventions. These include: Realistic locations, body language, facial expression, costumes, are visual codes recognisable depictions of reality. The voice over, hidden camera, long shots, close ups, reaction shots, 2-shots, talking heads, direct to camera, informal language, light-hearted music are all technical codes. Owing to the nature of the hybrid genre, the technical and audio codes are varied. Technical codes help to convey the narrative by, for example, showing the facial expressions of the participants and cutting away to the gallery where backstories are revealed. The camera shots and editing employed during the dates ensure that viewers are engaged. Long shots remind the viewer of the genre, taking in the restaurant setting with waiters and other couples at tables.
Cameras are discreet and placed all around the edges of the room.
First Dates producer Molly Sayers has said, in relation to the camera work:
“And then we’ve got GoPros in the loos as well!” exclaims Sayers. “And all of the cameras are remotely operated. They’re all at different heights – you have to when people are sitting and when they’re standing, that’s why we can only have three dates in at any one time because we’ve only got a certain amount of cameras that can cover the dates.
“We might have 42 cameras but we’ve only ever got ten streams, so we can only record on ten at a time. Which means if there are three featured dates in, you’ve got a close-up of one person, another close-up of their date and a two shot – then times that by three. So that’s nine of your streams taken up, and then you might have a camera on Fred or on Cici and Laura having a chat in the bar. It’s all quite choreographed." The aim of the technical codes is to is to establish an observational documentary style combing fly on the wall and direct mode of address, when Fred talks to camera for example. Audio codes employed include music, Frank Sinatra's Love and Marriage, for example. For the most part the music is light hearted. Encouraging audience involvement is the formulaic structure which becomes an expectation each week.
Settings, iconography:
The repertoire of elements of the reality/lifestyle genre are evident in the iconography around the restaurant setting.
The restaurant used for filming is the ‘Paternoster Chop House in London’.
It is brightly lit and informal
We see tables for two.
After dinner the couples appear in a small gallery, which is actually set up in the car park close to the restaurant. They appear one at a time and separate footage of them discussing their date is cross-cut with footage of the couple sitting together either awkwardly or with very positive body language. The projected ‘backdrop’ to the gallery features the iconic paper red heart, which either stays intact or breaks in two – and the doves which get together or don't, depending on the outcome of the date.
The taxi rank-The finale –
resolution – to each date story is always the taxi moment. Whether or not they
get in the same taxi or leave separately is the final indicator of success or
failure. Task 1: Create a spider diagram that identifies the genre conventions evident in the show.
The narrative structure of the programme is that two couples are introduced in the first part of the programme, followed by one more at the mid point and then a final two in the last part. The narrative is divided into this structure. Two couples, once they’ve both been introduced, are constantly compared to another, through parallel editing so that their progress is compared to add excitement.
Each couple’s
date story follows Todorov’s Theory of Structure: Equilibrium is that they are single people looking for a relationship; Disruption is the date itself which
promises to end that situation and the new equilibrium is either a return to
singledom or a step in the direction of togetherness. Some of Propp's character functions can be applied.
The villain — an evil character that creates struggles for the hero.
The dispatcher — any character who illustrates the need for the hero's quest and sends the hero off. This often overlaps with the princess's father.
The helper — a typically magical entity that comes to help the hero in their quest.
The princess or prize, and often her father — the hero deserves her throughout the story but is unable to marry her as a consequence of some evil or injustice, perhaps the work of the villain. The hero's journey is often ended when he marries the princess, which constitutes the villain's defeat.
The donor — a character that prepares the hero or gives the hero some magical object, sometimes after testing them.
The hero — the character who reacts to the dispatcher and donor characters, thwarts the villain, resolves any lacking or wronghoods and weds the princess.
The false hero — a figure who takes credit for the hero's actions or tries to marry the princess.
Task 2: Discuss in groups and note how Propp can be applied to First Dates-episode 6.
We learn about the participant's backstory through an interview to camera in the more intimate gallery setting. Individual narratives are constructed around couples.
The programme starts with the voice-over of Brian Protheroe.
He is the narrative guide through the story of First Dates.
The voice-over of Brian is male, reassuring and authoritative – these are stereotypical
attributes that have been attached, historically to the male ‘voice of authority’ that is a
convention of the documentary form.
He is a narrative guide through the story of First Dates.
Fred - Fred Sirieix, the Maître D (and Head Waiter), is the presenter of the programme.
He introduces each couple through direct address to the camera but not before he delivers his
soliloquy on love. Fred is French and the theme of ‘French’ is also continued in the mise-en
scene and sound (music) because the French are stereotypically associated with love and
romance. Fred tells us that marriage is universal so he reinforces the ideology that drives the
show.
Participants engage in ‘warm up’ chat with the barman, Merlin Griffiths who asks them what
they are looking for in a date.
Fred wears a blue suit. This colour has connotations of security and trust. Waiters - Provide another insight for the audience. For example by talking to one
participant about the progress of the date while the other has gone to visit the toilet.
The waiters are the same in each episode. Their uniform is brown. This colour has connotations of permanence.
Cici Coleman, 29 - waitress. She has lots of anecdotes and amusing observations.
Laura Tott, 22 - waitress. She never studied but has travelled broadly and describes herself as a graduate from the University of Life Brian
explains how the programme works. The mise-en-scene of the programme's opening credits showcases the theme of romance and this is reinforced throughout the
programme with romantic music (Sinatra’s ‘Love and Marriage’ is used as
incidental music) and iconic hearts and doves are used to signify successful or unsuccessful dates – the heart comes together or breaks in two, the doves may fly away from each other or get shot down. Brian tells us, the audience at home, that there is someone out there for all
of us. This is the ideology that is central to the programme – the belief that
human beings are all destined to have a partner. The programme’s premise is to
help people achieve that ideology by providing them with a little help – the
setting - conducive to romance and a date with whom they have been previously
matched (because of the application process) so is more likely to be compatible
with them.
The format
of the programme is always the same. After Fred delivers his opening speech/philosophy about love and marriage (intercut with a shot of two
waitresses talking about the same themes) the first date commences. It starts
with the first person arriving at the restaurant. This is shown in long/wide
shot outside the restaurant and the camera is always on their left. We appraise
the date and the camera allows us to see what they are wearing and how they
walk – the early signifiers of a person’s potential attractiveness to another
person. The camera
then cuts to an interior shot from Fred’s POV when we look the person up and down once more – through camerawork. They take their coat off and we are
invited to judge their outfit. They are shown to the bar where they order a
drink (an important signifier of what type of person they are (cocktail,
champagne, beer or fruit juice for example). They engage
in ‘warm up’ chat with the barman (Merlin Griffiths) who asks them what they
are looking for in a date. We see the microphone pack attached to their costume
at the back and so are given a reminder of the constructed nature of the
programme. At this point there is a cutaway to footage of the person being
interviewed previously about their previous failures in love or any other
aspects of their lives that has contributed to why they are appearing on the show. Cut to the
arrival of the second person who is sometimes late but always comes after the
first person. They never arrive at the same time. The gender of the order of
arrival is rotated throughout the show so women are never, for example, stereotypically
shown as the last to arrive or the ones who arrive late. Fred
introduces the second person who is then ushered over to their waiting date.
The camera shows us their first impressions of each other and the all-important
drink is ordered. After some getting-to-know-each-other chat, which is
sometimes nervous, the couple are shown to their table by a waiter/waitress. Everyone in the restaurant is a First Dates applicant but only five couples are
filmed.
The ordering
of the food is the next important signifier of character, personality, class, background etc. The couples are filmed eating and talking. There are multiple
cameras – as many as forty for one show and although the conversation is
spontaneous couples may be asked to repeat it if the sound hasn’t recorded well
enough. We are shown the most exciting parts of the conversation which in its
entirety (real time) probably lasts for at least two hours or more. This is
edited down to show the narrative conflict (best bits) – the points of interest
and the points of dissent. These can be sparked by one of the couples making an
unfortunate remark or revealing something shocking about them.
This
scenario – repeated five times during the show – is always punctuated by one
person in the couple needing to go to the toilet. We cut to a shot of them in
there phoning a friend or similar and telling them how the date is going
(narrative intrigue/enigma). Sometimes they spend too long in this activity and
the waiting person (parallel editing) taps their feet and looks around narrative forward and encourages audiences to want to know the
outcome for each couple.
The
narrative structure of the programme is that two couples are introduced in the
first part of the programme, followed by one more at the mid point and then a
final two in the last part. The narrative is divided into this structure. Two
couples, once they’ve both been introduced, are constantly compared to another,
through parallel editing so that their progress is compared to add excitement. Task 3: Produce a chronological diagram that identifies the narrative structure evident in the show.
Homework: Answer the following question in relation to episode 6 of First Dates only: A1. Explore the narrative structure of your three main texts. [30] Email to ealey_A@sjd.ac.uk by Wednesday Feb 1st, 5.00 pm
Starter: Why do audiences watch reality TV shows? Discuss and make notes on the white boards. Key terms: Remit (to do with channel identity): The task or area of activity officially assigned to an individual or organization. Here is a link to the Channel 4 Remit which promotes amongst other things, diversity. First Dates (Section A: Text) can be found at (Channel 4, Reality TV on Channel 4 Catch Up.)
The episode we will cover is at the following link: http://www.channel4.com/programmes/first-dates/on-demand/61921-024 First Dates is a British reality television show that has aired on Channel 4 since 20 June 2013. The show is narrated by Brian Protheroe. 1 Format The show is filmed at the Paternoster Chop House restaurant in Central London, showing many people on dates, all of whom have not met each other before. At the end of the date, the couples are interviewed together and asked whether they would like to see each other again. 2 Restaurant staff The restaurant’s maitre d' Fred Sirieix offers pieces to camera on the nature of love, romance and dating. CiCi Coleman, Laura Tott and Sam Conrad are the waiting staff. Merlin Griffiths is the barman. 3 Narrative. The programme starts with the voice-over of Brian Protheroe (male, reassuring, authoritative – these are stereotypical attributes that have been attached, historically to the male ‘voice of authority’ that is a convention of the documentary form). 4. Ads The advertising surrounding and during First Dates is primarily though not exclusively aimed at women, for example, Belvita Breakfast Biscuits, Neutrogena Face Cream, Always Ultra Sanitary Pads etc.
Women are stereotypically thought to be more interested in romance and dating than men and the audience profile statistics do confirm this.
Task 1: Narrative – Make detailed notes on the
narrative events and the order in which they are presented. Make note of what
appear to be the most dramatic or significant moments in the narrative. Also
make note of how each programme begins and ends (equilibrium).
Task 2:
Narrative Characters – Make detailed
notes on the main characters (who they are, what part they play in the plot
etc) and notes on the function of minor characters also, in the plots.
Analyse Narrative, Genre and Representation This has been put together for MS1 revision but is also useful for us.
Starter: List some of the iconography that you would recognise in a crime drama.
Key Terms: GENRE – the type of media text, for example, television crime drama. CONVENTIONS – The genre of a text is recognisable to an audience by having a set of shared characteristics or conventions (sometimes called a ‘repertoire of elements’). These include characters, iconography, narrative, technical and audio codes and representations. SUB-GENRE – within the overall genre of television crime drama there will be groups of programmes that share similar conventions, for example detective-led dramas. These are sub-genres. HYBRID GENRE – some programmes share the conventions of more than one genre. Jonathan Creek is a crime drama with elements of the paranormal. It is an example of a hybrid genre. REMIT- the task or area of activity officially assigned to an individual or organization.
Exam question:
How typical are your three main texts of their genre? [30]
To respond to this question, you should consider;
Key signifiers and iconography
Storylines and plots
Characters and their functions
Stars/celebrities
Use of camera, sound, editing
Use of dialogue, language, music
Typical Iconography:
high visibility jackets
police cars,
blue flashing lights,
crime scenes,
police tape (do not cross),
murders, dark lighting,
guns and weapons.
flashlights in dark places.
blood
drugs
money
Crime drama messages/values/ideology:
“Crime doesn’t pay”
Success and wealth
Criminals are doomed to fail
·Criminals are the victims of the circumstance they have found themselves in
Throughout a crime drama, the audience will constantly be asking themselves questions, such as:
Is there more to come?
What will happen when they meet?
What will the Police do?
What will happen when they meet?
How are they going to deal with them?
Typical Crime Drama Sound
Serious and dramatic non-diegetic music. Often this is very sombre and brooding during dark moments and fast-paced and bombastic as action sequences occur.
Settings
Interview rooms, urban settings, police stations, crime scenes, forensics labs, morgues, the killer's lair - often dark, ominous and threatening
Storyline
Catherine is a no-nonsense police sergeant who heads up a team of officers in a rural Yorkshire valley. When a staged kidnapping spirals out of control turning into a brutal series of crimes, Catherine finds herself involved in something significantly bigger than her rank, but unknowingly close to home.
Identify and analyse the genre of Happy Valley through the use of genre conventions.
Identify how the narrative is structured in Happy Valley.
Consider which narrative perspective is offered and the impact this has on audiences.
Identify and analyse gender representations offered in this episode of Happy Valley.
In Happy Valley, Sarah Lancashire's character (Catherine Cawood) was perceived as a complex, but authentic mix of
masculine and feminine attributes:
"She's taking on a very masculine role as a police officer, which you don't usually see, but a lot of the storyline is about her
family – that's a more feminine side" (Women, 18-24, ABC1, Belfast) Link to BBC Happy Valley site: http://www.bbc.co.uk/programmes/b06zqjpj 1. What genre is Happy Valley? How do you know? What conventions can you spot? Settings? Titles? Characters? Lighting? Props? 2. How is narrative structured? Usually in crime drama... Crime to be solved. Criminals punished. Lead characters have a backstory. Cliffhanger to keep the audience waiting. Binary oppositions: Police vs criminals. innocent vs guilty Camera angles: Usually follows detective solving the crime. Use of extreme close ups to show emotion, adds tension. Is Happy Valley a multistrand narrative? What is Sgt Cawood's backstory? How has this been told? 3. What narrative perspective is offered and what effect does this have on audiences? Seen mostly from the perspective of Sgt. Cawood. What issues does Happy Valley draw attention to? 4. What gender representations are offered in this episode? Broadcast media is important. Audiences see a reflection of themselves. Sgt. Cawood is a provider. Non traditional societal role. 60's drama. What is the cliched gender stereotype? Nevison-What are the different sides to his representation?
Apply this question to the opening titles of Happy Valley.
What genre is Happy Valley? How do you know? What conventions can you spot?
Give consideration to settings, iconography, the title, the characters, lighting, props?
Ask if these challenge or conform to crime drama conventions.
Make notes as you watch.
Write at least a paragraph, 200 words.
Task 2:
Apply this question to episode 1 of Happy Valley.
How is narrative structured?
Give consideration to Todorov equilibrium, Propp characters, Levi Strauss binary opposition. Also; camera angles and movement. Ask if these challenge or conform to crime drama conventions. Write at least a paragraph, 200 words.
Task 3: Apply this question to episode 1 of Happy Valley. What gender representations are offered in this episode?
Give consideration to male and female. What makes each the character a positive or negative representation? Do they challenge or conform to stereotypes? Below is a model answer for for analysis of the opening sequence of Happy Valley: Model
Answer
Happy Valley Opening Credits: Genre Analysis
In the short, 30 second opening sequence for BBC TV
programme Happy Valley, audiences can
establish that this text belongs to the sub-genre of British Crime Drama. In this
sequence, conventions
of both Crime and Drama are evident in the use of iconography, audio and
graphics. Firstly, the genre of Crime can be established primarily through the
use of iconography
which includes Costume
Codes such as a recognisable uniform and Hi Vis jackets and Props
including images of handcuffs and CCTV cameras. These indicators are symbolic
of British TV Crime Dramas, as can be evidenced in other TV shows such as BBC’s
Luther and ITV’s Broadchurch, and immediately help the audience to establish
expectations of the content and narrative of the show.
The opening sequence
also establishes a conventional location; primarily a run-down town in the
countryside. This can be observed through the images of high rise council flats,
canal boats, dilapidated caravans and dark tunnels. These particular settings;
urban and gritty, are conventional of the Crime Drama sub-genre due to their social-realisticdepiction of working class conditions in Britain.
Similar to the use of Costume, this offers audience’s a privileged insight into
the programme’s content prior to being introduced to any characters or initial
storylines.
Genre can also be identified through the use of conventional
actors
and the acknowledgement of a renowned producer for the BBC. The introduction of the
central protagonist, Sarah Lancashire,
and the producer, Sally Wainwright,
in the opening credits establish the genre as they are both celebrated for
producing and starring in other TV Crime Drama’s including Scott & Bailey and Five
Daughters. The editing of the credit sequence can also establish
genre as the images have been obstructed by thick black bars which move
sporadically across the screen (an allusion to prison bars). This editing
creates enigmas
by withholding and hiding parts of the visual content, leading audiences to
expect mystery and unsolved problems to arise within the narrative, also conventional
of the Crime genre. Finally, the choice of song/audio for the opening credits (‘Trouble Town’
by Jake Bugg) is purposeful in
reinforcing the messages held by the visuals. Lyrics including ‘tower block
overhead’ (an illustrative link to the visuals of council flats), ‘benefits’
and ‘troubled town’ help to formulate expectations of the text’s content thus
reinforcing the Crime Drama genre to the audience.
