Timed essay: student example. Ashes to Ashes extract.

How does this extract construct the representation of sexuality. through the use
of: Camera angles, shots, movement and composition; Sound; Editing and Miseen scene?
Throughout this extract, mise-en-scene is utilized effectively in order to construct
the representation of sexuality. For example, clothing is a major factor in how
different sexualities are portrayed. As the scene opens with an establishing shot
(extreme long shot) the viewer is introduced to footage of seemingly homosexual
males, dressed in tight vests. This suggests that homosexual men are eccentric
and unconventional through their clothing. This accentuates the stereotypes of
homosexual men being confident, flamboyant and outgoing, through mise-enscene, as their clothing is perceived to be deviating from the common norm. As
well as the clothing of the homosexuals highlighting certain stereotypes of
sexuality, the garments styled by the heterosexual contingent are also a factor in
the representation of their sexuality. From the footage, the viewer can denote
through dialogue that there are heterosexual people spying on a homosexual
man. These heterosexuals are dressed in stylish and professional clothing, such
as suits, ties and sunglasses. This develops the stereotype that heterosexual
men (the common norm) are better dressed than those of the homosexual
persuasion, as they are styled smartly and professionally in comparison with
homosexuals.
The sound is an influential factor in the construction of the representation of
sexuality throughout this extract. For instance, when the female protagonist,
Alex is in an interaction with the second homosexual man, who addresses her as
sweetheart, the music overplaying is very gloomy and daunting. Throughout
their dialogue, the non-diegetic sound can be heard by the viewer, and creates
an element of suspense. This is a referential code that suggests that the
homosexual character feels threatened by a heterosexual character. This is in
keeping with the society, as it is in keeping with the stereotype that homosexuals
are oppressed in their sexuality, and that heterosexuality is deemed as the norm,
where as homosexuality is often maligned for deviating from common
convention.
The camera composition is a key component in constructing the representation
of sexuality in this extract. For example, when the heterosexual male, with the
perm and moustache, is persuaded to talk to the homosexual male in a sexual
manner. In this scene, at the point where the heterosexual attempts to entice the
homosexual, the camera gradually pans further away. This is a ploy by the
director, who utilises the common stereotype that homosexuality is immoral and
should be maintained only in privacy. The fact that the camera pans away
suggests that homosexuality isnt a typically common act and is not for suitable
viewing. This is in keeping with the common notion that homosexuality isnt
normal or natural, and suggests that this sexuality isnt conventional, which is
often a general view shared by society. This series was set in the 1980s; within
the cultural context, the viewer can understand that the attitudes towards
homosexuality was one of disparity, in comparison to the more accepting society
in this day and age.
The editing in this extract is also an important cog in the system, with regard to
the representation of sexuality and how it is constructed. In the final scene, when
the homosexual male whispers into the ear of that of the heterosexual, the
editings pace picks up drastically. After the heterosexual male descends on his

Timed essay: student example. Ashes to Ashes extract.

chaotic, miniscule rampage, the director embedded many short and sharp shot
changes, in order to highlight the frantic nature of the situation. This is reflective
of life as a homosexual, as members of the sexuality are often perceived as living
a troubled life. Their lives may be quite frantic and hectic for one reason or
another, with difficulty of coming out and many other factors. In the 1980s,
homosexuality was oppressed and discouraged to a far greater degree than is
the case now, and as such the chaotic nature of the editing accentuated the
common stereotype that life as a homosexual in the 1980s was anything but
simple.
Another way in which the mise-en-scene is effective in constructing the
representation is through props. For example, when the viewer is first introduced
to homosexual male number one (played by Russell Tovey) the view of this
character is slightly obstructed, as there are bars surrounding him. This suggests
that this homosexual male is trapped in his sexuality. This suggests that in the
1980s, homosexuality was not something to declare, and perhaps suggests that
homosexuals didnt want to be of this sexuality, but had no choice. This is in
keeping with the common notion in this time period that homosexuality was
immoral and discouraged at this time.