- 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.
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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 visual and 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.
Task 1: Create a spider diagram that identifies the genre conventions evident in the show.
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Narrative:
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.
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.
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.
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.
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 yourthree main texts. [30]
Email to ealey_A@sjd.ac.uk by Wednesday Feb 1st, 5.00 pm
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
Email to ealey_A@sjd.ac.uk by Wednesday Feb 1st, 5.00 pm
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