RIPTIDE Flashcards
How are women represented as victims in terms of violence?
Scenes are intercut with depictions of violence.
For example: A mid-shot of a woman singing is intercut with an image of a gun.
Also intercut scenes of plants being cut violently with scissors.
This links to Eisenstein’s Intellectual Montage, these intercut generate meaning through commenting on the treatment of women in society - they are victims of violence.
In terms of editing, how are women represented as victims?
The fast paced editing of short torture scenes.
For example: A close up shot of a woman being g dragged out of her bed into darkness. This is a short, fast paced clip.
This depicts women as fearful and jumpy, like victims of a horror film.
How do intertextual references represent women as victims?
There is an intertextual reference to the horror film ‘Wickerman’ through the long shot of a woman with the clothing code of a brown suit holding her hands in the air.
This shot anchors to the lyrics “magicians assistant”, connoting the idea that she is submissive to the patriarchy as the males “assistant”
How are women represented as victims through gesture codes?
The long shot women untying herself from the tree shares a gesture code with the mid shot of a woman removing her bathing suit at the beach.
This might comment on the idea that women are either victims of violence or sexualisation.
How do enigma codes represent women as victims?
The video frequently cuts back to a close-up shot of a woman singing, her make-up deteriorating and bruises/blood appearing each time it cuts back.
This creates an enigma code, as we question what is happening to her.
These scenes are long, contrasting previous fast-paced editing, which makes audiences feel uncomfortable or perhaps sympathise (positioning) for the woman being controlled.
How might representations in the music video be deemed as complex?
Arguably, it might represent women as being their own ‘heroes’ by saving themselves.
For example: The long shot of a woman untying herself from a tree.
For Propp, this is going from a damsel in distress to a hero.
However, the video might simply be an intellectual montage to some - therefore, it could be down to audience interpretation.
How are women sexualised/objectified through the male gaze?
Beauty standards are reinforced throughout the video.
For example: The first close up shot of the woman singing, shows her with her make-up and hair done with a glamours clothing code.
For example: The mid-shot of a woman removing her swimsuit, she has a stereotypically attractive body.
It could be argued that these shots link to Mulvey’s Male Gaze.
How are women sexualised/objectified through dehumanisation?
It might be argued that women are dehumanised through shots of only their body parts.
For example: There is a close up tracking shot of a woman’s feet running on sand.
This strips the woman of her identity and supports Van Zoonen’s theory that women are simply a spectacle in the media.
How are women sexualised/objectified through male control?
There are depictions of women being controlled by men.
For example: There is a mid shot of women being hypnotised.
The red lighting in this shot might hold a semantic code (Barthes) of the danger she is in.
How are women sexualised/objectified through voyeurism?
There is a mid-shot of a woman removing her swimming costume at the beach, as the shot zooms in - it seems as if the audience are observing her from a voyeuristic perspective.
This is reinforced through the Kuleshov effect, as the shot cuts to a close up shot of a book titled “how to photograph girls”. This further reinforces that she is being watched by an unwanted voyeur.
How are men represented as voyeurs through point of view shots?
The video suggests that men are voyeurs, through observing women with the male gaze (Mulvey).
The low angle shot of a woman looking out of her balcony with binoculars is framed with a bush.
The audience are positioned to assume a POV shot from a man secretly watching her - she is being constantly observed.
How are men represented as voyeurs through their minimal shots?
There are mid-shots of men with binoculars and cameras, which suggests Mulvey’s male gaze as men are actively observing whilst women are being passive (Eg unknowingly removing swimsuit)
