TASK ONE

HOMELAND: How does the following clip create meaning and represent certain sectors of society?

The clip opens to a wide shot of the location revealing the landscape in what seems to be a poorer area in a hot climate. The camera quickly cuts to a close-up of a man’s face as he navigates his way through an area bustling with activity.

The camera cuts again to a woman, who seems to be a mother as she is standing outside with six children, in a place that seems like a low income area; concrete walls and bare ground given colour by what appears to be dirt, and spray painted graffiti.

The camera cuts to another wide shot showing the location, confirming the type of low-income area by the buildings “squashed together” and shops made from tin. A woman’s voice speak over at this point (0:06).

The clip cuts to a point of view shot as the woman’s voice still plays over. Car skidding sound effects play over, indicating that she is in a rush.

The camera cuts to a close-up of the right side of her face while she is on a phone while driving, indicating panic.

The close-up gets closer as her facial expressions shows her, seemingly worried, while focusing on driving as well (an emotional indicator to engage the audience and solicit empathy).

Camera cuts to a wide shot of a new location that seems to be a prison by the use of barbed wire, high concrete walls and two men dressed as guards / soldiers preparing nooses and a platform (gallows) for is probably going to be an execution.

Cut to an “over-the-shoulder” shot of a man watching the guards / soldiers prepare for a hanging, indicating he will most likely be the one who is executed.

Cut back to the woman driving through a busy street from a high angle as her voice still plays over on her phone call. Cut back to the close-up of the woman on her phone, driving.

It cuts to a black-tie event (to the other person on the phone) contrasting it to the place the woman is in. A mid shot of the man also shows the location and type of event that is clearly distanced from the woman’s situation.

It continuously cuts back and forth in close-ups of each of their faces as their dialogue continues, showing conflicting through each of their tones and speech (frustrations).

The camera cuts to the woman being stopped because of an accident, switching to a high angled wide shots and mid close-up shots, to show what has happened to the audience, with her reactions, building up tension as the metaphorical clock ticks away.

She gets out of her car and heads out on foot, still on phone having the discussion with the man at the party. This is done with a combination of wide and semi-close-up shots showing her walking in the busy street environment. The camera follows behind her as she seems flustered, continuously checking her back, indicating the pressure and danger are ramping up.

She walks up to what appears to be the entrance to the prison as the angle and position of the camera cut, change and increase in speed, showing her frantic state of mind.

The clip cuts to a new character talking to, what appears to be, a guard / soldier with the woman walking in the distance. The new character leaves the conversation (two shot, close-up) and walks in the direction of the woman. Cuts to an over-the-shoulder shot of the two meeting, then the camera rotates around them, maintaining a mid-shot and mid-angle. It then utilises the 180-degree rule as they cut between characters during dialogue.

The clip then cuts to the prisoner in his cell with a wide shot looking through a small opening in the door. The prisoner is curled up in the corner of the cell in what appears to be a distressed state of mind.

The clip then cuts to the woman walking down the dark corridor of the prison, with the guard / soldier seen talking to the man in the previous part of the clip. The camera tracks in, two shot, mid angle, mid shot.

The clip transitions to an over-the-shoulder to the woman speaking to the prisoner at a close-up, mid angle shot. Again the 180-degree rule is used to cut back and forth between dialogue. The dialogue between the prisoner and the woman is interjected by wide shots of the corridor showing movement of the guards / soldiers.

• PRESENTATIONAL:

The location of the film clearly indicates a majority of men, showing only 2 women (excluding the party scene, which clearly happens in a different place). There is a clear conflict between the genders, as men seems to be the ones standing in the way of her progress, while she tries to gain supposedly critical information. The other use of gender in this clip is how men seem to hold the authority through the guards and through the Deputy Director positions.

There is a clear divide between ethnic groups as the main protagonist goes to a Middle Eastern country (Iraq) and tries to gain information from a prisoner; she dresses in clothes that distinctly match the area, linking in regional identity, which is contrasted in the scene where she talks to the CIA Deputy Director in America, who is dressed in a Tuxedo Suit at a Black Tie event.

In a large portion of the clip, she is on the phone, which is clearly audible; there are clear masculine and feminine voices coming through, utilising the sound aspect of the clip. Also, there are clear clothing differences as many men wear uniforms or suits giving a sense of professionalism. This is contrasted by the women’s more culturally sensitive or beauty-oriented clothing (depending on the region they are in, in the clip).

There is a clear hierarchy in the clip shown through clothes (Mis-en-sene), such as the guard’s uniforms and the suits that show the class and status of characters. The people on the street are regular citizens, largely unaware of the goings-on of the situation the main character is in.