Representation of Age in Bug's Girl Power






angles/shots
High angle looks down on little girl - condescending, pompous
woman is sitting higher than girl - 


mis en sceneee
posh voice and posh clothing (older man)


editing
master shot


sound
diegetic
non diegetic


This clip represents age in a variety of ways through angles, camera shots, mis en scene, editing and sound. The clip starts off with two men and two women walking. The men are wearing suits and the main man  who is eldest of them all speaking is talking with a posh accent perhaps representing his superiority and power. A shot reverse shot is then used to emphasize the conversation between the man and woman. Again, the older man is represented in a way of having power over her as he tells her what to do and looks down on her at a high angle. At the end of the conversation when the woman walks away, the man raises his eyebrows as to say that he is expectant of her to do things his way and is disappointedly surprised. A point of view shot is used to emphasize the woman looking in the window to see the girl with the music narrowing and becoming almost spooky to portray the sympathy felt for the little girl - "she's a mixed up kid". The reference to a 'kid' makes the 12 year old girl sound almost younger than she is. She is looked down upon as insufficient and being have to looked after.
Another shot reverse shot is used between the conversation between the younger woman and the posh man "how did a teenager manage to break in' with a smirk




   

Worksheet explaining camera angles and editing CLICK THAT!

The camera itself accompanies the movement of an object during a following shot. A track, crane, or hand-held shot can lead a moving figure into space, pursue a figure from behind, or float above, below, or alongside. Intricate following shots may be motivated by the movements of more than one figure.

Because of its ability to reveal or conceal space, camera movement often participates in the creation of suspense and surprise. In Strangers on a Train (1951), a point-of-view editing pattern places the viewer in the optical perspective of Guy (Farley Granger) as he approaches a dark staircase to warn a father of his son's murderous intentions. The director Alfred Hitchcock (1899–1980) then varies the editing pattern by craning up from Guy to disclose a menacing dog waiting on the landing above. The independent camera movement informs the viewer of an obstacle unknown to Guy, raising the question of whether he will be able to reach the father—thus heightening suspense.

Sometimes camera movement positions the viewer as an objective witness to unfolding events.

Very slow camera movements within long takes focus the viewer on the passage of time and build narrative expectation. When this happens, the camera movement situates the viewer as a curious inhabitant of the narrative world, linking simultaneous events in adjacent spaces and integrating the protagonist's preparations for death with a joyous celebration of life.

Camera movement can also be used to illustrate a character's subjective experience. This is used very effectively in ‘Friday 13^th’ when Michael climbs down the stairs in his ‘fancy dress’ having just murdered his sister. The framing is classically framed by the outline of Michael’s face mask.