18. Composition of Frame What meanings could be interpreted from the shots in front of you? Connotations Consider where the camera is placed – Who’s perspective is the camera taking? Is this significant? Consider what is in the foreground/background, in/out of focus/distortion... Division of frame / Rule of Thirds
26. Analysis of Camerawork Using the Worksheet of Camera stills and the extract in action, analyse and write a detailed exploration of the meanings constructed from the sequence You should: Identify camera shots/angles/movement Discuss how Sam’s disorientation is reflected in the camerawork Discuss the visual signs that construct a 1973 setting and how this contributes to the atmosphere of the scene Discuss what is being signified/symbolised [connotations] through the visual images
27. Analysis of the whole episode Analyse episode 1 of Life on Mars and comment on how it is constructed as a Police Drama In your answer you should discuss: Generic expectations of TV Drama Realistic in performance/narrative/filming style. Where it sways away from realism and why you think this is Analysis of specific key scenes in terms of Camerawork Mise-en-scéne Narrative style and performance The representation of the police force Compare/contrast policing in 2005 and 1973 Procedures and Organisation – how things are ‘done’ Set/costume/props Compare and contrast Sam Tyler and Gene Hunt
28. The billboard illustrations acts as a short-hand device to reinforce the date and location of this scene. For non-Mancunians, this location will simply mean some time in the past; for locals it will root the scene precisely in a time and place, and will remind older viewers of the trials and frustrations of trying to drive around Manchester before the road was built. [Also a subtle intertextual reference to Back to the Future]
29. Close up Sam’s distress is clearly visible and demonstrated by the use of the close up. It allows Sam’s anguish to be emphasised in his body language – most notably with facial expression and the manner he grasps the steering wheel. The abduction of Maya has hit him hard – which is precisely how the car then hits him, taking him into another time.
30. High Angle Long Shot The surrounding concrete and tarmac environment reinforces the urban location. Sam’s emotional state, the hard-edged surroundings and the brutality of the hit-and-run all lead the audience to expect a hard-hitting piece of gritty realism.
