Representation theory applied to EARNEST
Representation, by its basic definition, is the construction through the use of multiple conventions in any medium of aspects of 'reality' such as people, places, objects, events, cultural identities and other abstract concepts. It also refers to the ability of texts to draw upon features of the world and present them to the viewer, not simply reflections but as contractions also. There are multiple representation theories that can be applied to EARNEST, some that partially apply and there are some that do not apply at all.
The images and shots we used in EARNEST are all representations of things like class, gender, age, social groups etc. The establishing shot at the beginning of EARNEST is of a large, old fashioned style house that our protagonist lives in. This represents the middle/upper class and gives the audience insight into the characterisation of our protagonist and where he lives. We tried to reinforce this theme by using a classy white font for our title which also fit in with the romantic element of the story.
The representation of gender was important to the plot of EARNEST, which we focuses on through the costuming of our protagonists. We wanted to use two teenage boys to represent the conventions and codes of our plot to rail against the stereotype that romantic comedies typically feature a young girl . We wanted to try a new perspective. The colours in the costuming was important in the representation of gender for example Anuerin was dressed in masculine blues.
We planned the setting of the boys first interaction carefully as we wanted the location to represent their social age group (finding a place where many teenagers go for social interaction) hence the teenagers in the background. In the public space we filmed in we even attracted an audience of teenagers and young adults which i believe highlights how we represented the teenage social group well. We also represented the teenage social group through the influence of social media on their behaviour and the impact it has on the plot.
The location of our project allowed to us also represent different cultures in the area. Many pedestrians passed by us from a range of different cultures. Some were even tourists taking pictures and took an interest in the production of EARNEST as they passed by this public hotspot. Throughout the film in the background, members of many different cultural communities can be seen passing by for example Asian.
The convention of stereotypes in representation theory is applicable to EARNEST. Stereotypes are characters in a media text who are 'types' rather than complex people and are often defined by their role, appearance, age or gender. The involvement of social media with the plot and teenage protagonists of EARNEST fulfils the stereotype associated with the millennial generation and their reliance on social media. In addition, the stereotype that deviance and rebellion are parts of typical adolescent behaviour, is supported by the characterisation of Jay and Ali in EARNEST. The motives behind the characters actions are both related to their search for escapism, excitement and rebellion against their repressive home lives and strict parents.
The convention of subcultures in representation theory can be clearly applied to EARNEST through the identification of the online cat fishing subculture the boys adopt. Dick Hebdidge described a subculture as ''a group of like minded individuals who feel neglected by societal standards and develop their own sense of culture or identity which differs from the dominant one of mainstream society''. The two male protagonists develop this rebellious subculture against the dominant culture of society presented to them by their overprotective parents. This is developed by Ken Gilder's six ways in which a subculture can be recognised. EARNEST applies to five out of the six ways Gilder identifies, which means it is still applicable to EARNEST. The first way describes a negative relationship to work, which is shown by the boys declining school grades. The fourth way describes their stylistic ties to excess which is represented through the excessive amount of time the boys spend getting ready, particularly Anuerin with his hair. The fifth way tells of their movement out of home into non-domestic forms of belongings (movement towards social groups as opposed to family). Their movement to social media online for escapism from their families supports this application to EARNEST. The sixth and final way tells of their refusal to engage in what may be seen as the 'banalities' of life, which applies to EARNEST as it reflects the boys' refusal to follow the rules their parents have set for them as they make their own rules. It can be argued that the third way described by Gilder, also applies to EARNEST. It details their association with territory over poverty. This is supported by their interactions at our public setting of The City Hall, which is presented as a regular place where the boys meet up. The second way describes the boys as having a negative or ambivalent relationship to class which is not applicable to EARNEST due to their lack of concern with class. A negative relationship with their parents would be more applicable as described by Gilder's fifth way in which a subculture can be recognised (movement out of the home towards social groups).
The idea of ideologies in representation theory is applicable to EARNEST. The teenage male protagonists rebel against the ideology set by many parents, the idea that you go to school, get your grades and you'll have a successful career. The strict pressure for focus and achievement is an ideology that is not uncommon and is present in EARNEST. Although this ideology exists, it does have its flaws which is why the boys use social media as a source of escapism from this ideology.
In relation to the idea of ideologies, hegemony refers to the way in which those in power maintain their control. This convention partially applies to EARNEST, which is represented through the infliction of control from the boys parents and the dominance of their ideology to achieve. The boys try to rebel against this ideology and hegemony.
The idea of hegemony revolves around the influence and control of politics which shows how it only partially applies to EARNEST. The part of hegemony that is not applicable to EARNEST is the strong theme of politics that rule and create ideologies. Although the idea of ideology exists in EARNEST, the theme of politics is not a point of focus as it needs to be to be considered hegemony. This is supported by Antonio Gramsci's theory of cultural hegemony means that a diverse culture can be ruled or dominated by one group or class. This does not apply to EARNEST as the boys express no involvement or interest in politics or its influence on them, they are simply teenagers who enjoy any freedom they can find without worrying about political ongoings behind the scenes. The exploration in the diversity of culture was not a major theme in EARNEST either. Therefor the idea of hegemony and its extreme political connotations are not applicable to EARNEST.
The Gaze is another element of representation theory that applies to EARNEST and it refers to how an audience views the way people are represented in the media. The gaze can be characterised into multiple subtitles based on who is doing the looking or 'gazing'. The spectator's gaze (the audience's gaze or view) certainly applies to EARNEST as well as the intra-diegetic gaze and extra-diegetic gaze. These three types of gaze as well as the spectator and camera gazes, apply to EARNEST and serve to manipulate the way the audience and characters view the events of the story. The intra-diegetic gaze describes when one person depicted in the text is looking at another person or object in the text, for example one character looking at another. This can be applied to EARNEST towards the ending when the two protagonist interact and it allows the audience to see the characters from the view of each other through their facial expressions and close range shots. Another type of gaze that applies to EARNEST is the extra-diegetic gaze. This describes when a person depicted in the text looks at the camera and in some cases acknowledges the audience. This was achieved through Conor's narration as Jay and the camera focusing on Anuerin as he fixed his hair in a mirror, it looked like the shot was taken from the mirror view which demonstrates a breaking of the 'fourth wall'. However not all of the fives types of gaze apply to EARNEST. The intra-intra dietetic gaze cannot be applied to EARNEST as it describes the characters in a show or film watching other characters on television or in a cinema. At no point in EARNEST is this applicable as the boys do not watch television or look at magazines where they would be looking at other characters.
Laura Mulvey's 'Male Gaze Theory' can also be applied to EARNEST. This theory occurs when the audience is put in the perspective of a heterosexual man, and it can be argued that this applies to EARNEST. According to The Male Gaze Theory, a scene may focus on the curves of a woman's body, putting you the viewer in the eyes of a male. It is only the Male Gaze theory if these curves are highlighted with specific conventions such as slow motion, deliberate camera movements and cut aways. The slow motion editing and short long shot in the dream-like sequence that shows the girl's full bodies highlights how this applies to EARNEST. This is furthered by the lack of characterisation of the girls and this adds to the idea of women being treated as objects which is another element of The Male Gaze Theory that applies to EARNEST.
Lacan's theory of 'The Mirror' is an idea surrounding the idea of identity and the point at which a child recognises their own reflection and begin to consider how other perceive them. They will then begin to modify their appearance to either satisfy their perception of how others see them, or they will rebel against this perception and adjust their appearance accordingly. Lacan's theory can be applied to EARNEST in relation to the important of cat fishing on the plot and characters. Cat fishing is defined as the deliberate luring or manipulation of someone into a relationship by adopting an online, fake persona. The characters of EARNEST both fit into Lacan's theory by identifying adolescence as a common point in which an individual recognises their own reflection and begins to change it according to their own perceptions and the perceptions of others. In EARNEST the boys consider the way that others perceive them and are unhappy with this image and so they create a new image, alter egos almost, in react to the perception they believe others have.
The work of Anthony Giddens on Traditional society vs Post-traditional society in representation theory can be partially applied to EARNEST when they are divided. Giddens describes the post-traditional society no longer feel so dependent and limited to time and place. He says ''we are living a post-traditional society where we are much less concerned with precedents set by previous generations and that our options are only limited by what the law and public opinion allows. We have replaced seen/discrete systems with remote 'expert' systems, institutions and corporations.''. This apples to EARNEST as it mirrors the lack of concern from the boys towards the view, ideologies and traditions set by their parents. The idea of the replacement of systems is also accurate as in the element of cat fishing in EARNEST requires an almost expert level of deception, planning and manipulation in contrast to before there was internet or cat fishing. Gidden's representation theory on traditional vs post-traditional societies only partially applies to EARNEST due to the other side of the theory, the description of the traditionalist society. He conveyed this traditional society as one in which individual choice was limited by its dominant customs and traditions. This description does not match the society we tried to represent in EARNEST as both of the boys do not conform to any traditional views and they are not dominated by the traditional ideologies set in place, which is shown by their activity online.
Another representation theory that can be applied to EARNEST is Bell Hooks' 'Ain't I a woman? Lack, women and felinity'. This focused on the perpetuation of systems of oppression and domination in the media, paying particular attention to the devaluation of black womanhood. The idea of 'otherness' was explained in Hooks' work, which refers to the way that women and ethnic minorities are usually represented as something other than the normal, key character. Therefor they are known by their lack of development rather than complexity of character. This fits in very well with EARNEST as it mirrors the lack of characterisation of the girls. They are more minor, side characters to the male protagonists, known as the 'others' to the boys.
Judith Butler's queer theory cannot be applied to EARNEST for multiple reasons. The best way of understanding this is by using the example of Tom Cruise playing a 'straight pilot' in The Right Stuff and interpret his sexuality as having 'gay' or 'queer attributes as a male. It explains Butler's theory which attempts to challenge the idea that gender is part of the essential self, that is fixed and immovable. The theory was developed as a way to combating negative representations of gay sexuality in the media. The gay sexuality was not represented in EARNEST, nor were our characters represented with gay attributes considering the plot revolves around two heterosexual teenagers talking to girls through online cat fishing.
In conclusion, there are more representation theories that do apply to EARNEST, than the amount that do not apply. There are some that apply only partially and this is explains by further analysis of different elements of each theory. There are multiple conventions, codes, ideas and theories that apply to EARNEST and that are important to acknowledge in order to fully understand representation theory.
The images and shots we used in EARNEST are all representations of things like class, gender, age, social groups etc. The establishing shot at the beginning of EARNEST is of a large, old fashioned style house that our protagonist lives in. This represents the middle/upper class and gives the audience insight into the characterisation of our protagonist and where he lives. We tried to reinforce this theme by using a classy white font for our title which also fit in with the romantic element of the story.
The representation of gender was important to the plot of EARNEST, which we focuses on through the costuming of our protagonists. We wanted to use two teenage boys to represent the conventions and codes of our plot to rail against the stereotype that romantic comedies typically feature a young girl . We wanted to try a new perspective. The colours in the costuming was important in the representation of gender for example Anuerin was dressed in masculine blues.
We planned the setting of the boys first interaction carefully as we wanted the location to represent their social age group (finding a place where many teenagers go for social interaction) hence the teenagers in the background. In the public space we filmed in we even attracted an audience of teenagers and young adults which i believe highlights how we represented the teenage social group well. We also represented the teenage social group through the influence of social media on their behaviour and the impact it has on the plot.The location of our project allowed to us also represent different cultures in the area. Many pedestrians passed by us from a range of different cultures. Some were even tourists taking pictures and took an interest in the production of EARNEST as they passed by this public hotspot. Throughout the film in the background, members of many different cultural communities can be seen passing by for example Asian.
The convention of stereotypes in representation theory is applicable to EARNEST. Stereotypes are characters in a media text who are 'types' rather than complex people and are often defined by their role, appearance, age or gender. The involvement of social media with the plot and teenage protagonists of EARNEST fulfils the stereotype associated with the millennial generation and their reliance on social media. In addition, the stereotype that deviance and rebellion are parts of typical adolescent behaviour, is supported by the characterisation of Jay and Ali in EARNEST. The motives behind the characters actions are both related to their search for escapism, excitement and rebellion against their repressive home lives and strict parents.
The convention of subcultures in representation theory can be clearly applied to EARNEST through the identification of the online cat fishing subculture the boys adopt. Dick Hebdidge described a subculture as ''a group of like minded individuals who feel neglected by societal standards and develop their own sense of culture or identity which differs from the dominant one of mainstream society''. The two male protagonists develop this rebellious subculture against the dominant culture of society presented to them by their overprotective parents. This is developed by Ken Gilder's six ways in which a subculture can be recognised. EARNEST applies to five out of the six ways Gilder identifies, which means it is still applicable to EARNEST. The first way describes a negative relationship to work, which is shown by the boys declining school grades. The fourth way describes their stylistic ties to excess which is represented through the excessive amount of time the boys spend getting ready, particularly Anuerin with his hair. The fifth way tells of their movement out of home into non-domestic forms of belongings (movement towards social groups as opposed to family). Their movement to social media online for escapism from their families supports this application to EARNEST. The sixth and final way tells of their refusal to engage in what may be seen as the 'banalities' of life, which applies to EARNEST as it reflects the boys' refusal to follow the rules their parents have set for them as they make their own rules. It can be argued that the third way described by Gilder, also applies to EARNEST. It details their association with territory over poverty. This is supported by their interactions at our public setting of The City Hall, which is presented as a regular place where the boys meet up. The second way describes the boys as having a negative or ambivalent relationship to class which is not applicable to EARNEST due to their lack of concern with class. A negative relationship with their parents would be more applicable as described by Gilder's fifth way in which a subculture can be recognised (movement out of the home towards social groups).
The idea of ideologies in representation theory is applicable to EARNEST. The teenage male protagonists rebel against the ideology set by many parents, the idea that you go to school, get your grades and you'll have a successful career. The strict pressure for focus and achievement is an ideology that is not uncommon and is present in EARNEST. Although this ideology exists, it does have its flaws which is why the boys use social media as a source of escapism from this ideology.
In relation to the idea of ideologies, hegemony refers to the way in which those in power maintain their control. This convention partially applies to EARNEST, which is represented through the infliction of control from the boys parents and the dominance of their ideology to achieve. The boys try to rebel against this ideology and hegemony.
The idea of hegemony revolves around the influence and control of politics which shows how it only partially applies to EARNEST. The part of hegemony that is not applicable to EARNEST is the strong theme of politics that rule and create ideologies. Although the idea of ideology exists in EARNEST, the theme of politics is not a point of focus as it needs to be to be considered hegemony. This is supported by Antonio Gramsci's theory of cultural hegemony means that a diverse culture can be ruled or dominated by one group or class. This does not apply to EARNEST as the boys express no involvement or interest in politics or its influence on them, they are simply teenagers who enjoy any freedom they can find without worrying about political ongoings behind the scenes. The exploration in the diversity of culture was not a major theme in EARNEST either. Therefor the idea of hegemony and its extreme political connotations are not applicable to EARNEST.
The Gaze is another element of representation theory that applies to EARNEST and it refers to how an audience views the way people are represented in the media. The gaze can be characterised into multiple subtitles based on who is doing the looking or 'gazing'. The spectator's gaze (the audience's gaze or view) certainly applies to EARNEST as well as the intra-diegetic gaze and extra-diegetic gaze. These three types of gaze as well as the spectator and camera gazes, apply to EARNEST and serve to manipulate the way the audience and characters view the events of the story. The intra-diegetic gaze describes when one person depicted in the text is looking at another person or object in the text, for example one character looking at another. This can be applied to EARNEST towards the ending when the two protagonist interact and it allows the audience to see the characters from the view of each other through their facial expressions and close range shots. Another type of gaze that applies to EARNEST is the extra-diegetic gaze. This describes when a person depicted in the text looks at the camera and in some cases acknowledges the audience. This was achieved through Conor's narration as Jay and the camera focusing on Anuerin as he fixed his hair in a mirror, it looked like the shot was taken from the mirror view which demonstrates a breaking of the 'fourth wall'. However not all of the fives types of gaze apply to EARNEST. The intra-intra dietetic gaze cannot be applied to EARNEST as it describes the characters in a show or film watching other characters on television or in a cinema. At no point in EARNEST is this applicable as the boys do not watch television or look at magazines where they would be looking at other characters.Laura Mulvey's 'Male Gaze Theory' can also be applied to EARNEST. This theory occurs when the audience is put in the perspective of a heterosexual man, and it can be argued that this applies to EARNEST. According to The Male Gaze Theory, a scene may focus on the curves of a woman's body, putting you the viewer in the eyes of a male. It is only the Male Gaze theory if these curves are highlighted with specific conventions such as slow motion, deliberate camera movements and cut aways. The slow motion editing and short long shot in the dream-like sequence that shows the girl's full bodies highlights how this applies to EARNEST. This is furthered by the lack of characterisation of the girls and this adds to the idea of women being treated as objects which is another element of The Male Gaze Theory that applies to EARNEST.
Lacan's theory of 'The Mirror' is an idea surrounding the idea of identity and the point at which a child recognises their own reflection and begin to consider how other perceive them. They will then begin to modify their appearance to either satisfy their perception of how others see them, or they will rebel against this perception and adjust their appearance accordingly. Lacan's theory can be applied to EARNEST in relation to the important of cat fishing on the plot and characters. Cat fishing is defined as the deliberate luring or manipulation of someone into a relationship by adopting an online, fake persona. The characters of EARNEST both fit into Lacan's theory by identifying adolescence as a common point in which an individual recognises their own reflection and begins to change it according to their own perceptions and the perceptions of others. In EARNEST the boys consider the way that others perceive them and are unhappy with this image and so they create a new image, alter egos almost, in react to the perception they believe others have.
The work of Anthony Giddens on Traditional society vs Post-traditional society in representation theory can be partially applied to EARNEST when they are divided. Giddens describes the post-traditional society no longer feel so dependent and limited to time and place. He says ''we are living a post-traditional society where we are much less concerned with precedents set by previous generations and that our options are only limited by what the law and public opinion allows. We have replaced seen/discrete systems with remote 'expert' systems, institutions and corporations.''. This apples to EARNEST as it mirrors the lack of concern from the boys towards the view, ideologies and traditions set by their parents. The idea of the replacement of systems is also accurate as in the element of cat fishing in EARNEST requires an almost expert level of deception, planning and manipulation in contrast to before there was internet or cat fishing. Gidden's representation theory on traditional vs post-traditional societies only partially applies to EARNEST due to the other side of the theory, the description of the traditionalist society. He conveyed this traditional society as one in which individual choice was limited by its dominant customs and traditions. This description does not match the society we tried to represent in EARNEST as both of the boys do not conform to any traditional views and they are not dominated by the traditional ideologies set in place, which is shown by their activity online.
Another representation theory that can be applied to EARNEST is Bell Hooks' 'Ain't I a woman? Lack, women and felinity'. This focused on the perpetuation of systems of oppression and domination in the media, paying particular attention to the devaluation of black womanhood. The idea of 'otherness' was explained in Hooks' work, which refers to the way that women and ethnic minorities are usually represented as something other than the normal, key character. Therefor they are known by their lack of development rather than complexity of character. This fits in very well with EARNEST as it mirrors the lack of characterisation of the girls. They are more minor, side characters to the male protagonists, known as the 'others' to the boys.
Judith Butler's queer theory cannot be applied to EARNEST for multiple reasons. The best way of understanding this is by using the example of Tom Cruise playing a 'straight pilot' in The Right Stuff and interpret his sexuality as having 'gay' or 'queer attributes as a male. It explains Butler's theory which attempts to challenge the idea that gender is part of the essential self, that is fixed and immovable. The theory was developed as a way to combating negative representations of gay sexuality in the media. The gay sexuality was not represented in EARNEST, nor were our characters represented with gay attributes considering the plot revolves around two heterosexual teenagers talking to girls through online cat fishing.
In conclusion, there are more representation theories that do apply to EARNEST, than the amount that do not apply. There are some that apply only partially and this is explains by further analysis of different elements of each theory. There are multiple conventions, codes, ideas and theories that apply to EARNEST and that are important to acknowledge in order to fully understand representation theory.
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