1102 – English 1102: Television and Feminism

Cinematic Crash

On November 13, 2018

Image of the plane crash from Scandal S1E

Good evening, people. I am signing on just one more time. In my last blog post, I plan to revisit cinematic elements in the Scandal show, but in episode 5, “Crash and Burn”. The cinematographers capitalize on portions of the show where characters face tragedy and crises. Specifically, the cinematographic tactics used when Olivia and her team see the plane crash site and when they listen to the black box recording of the crash.

This episode begins with the disappearance of Pope and Associates’ client, Amanda Tanner. The team goes into a frenzy and cameras switch quickly between their faces as they scramble around. The show then suddenly cuts to Quinn and Harrison stumbling down a hillside to discover the horror of a deadly plane crash. The cameras flash horrific images of burned plane pieces, smoking fabrics, scattered clothes, and even dismembered body parts. Then, it pans back to the shocked faces of Quinn and Harrison. Dramatic music plays in the background and there is a grim filter on the lens as it blinks between these somber pictures. I believe Rhimes and her directors wanted Scandal viewers to feel the gravity of the situation just as Quinn and Harrison were experiencing. Olivia and her client, the husband of the plane’s pilot, visit the site later, and the somber mood is amplified by the client’s explanation that the red flags symbolized parts of passengers bodies. The cameras then proceed to pan around the crash site to demonstrate the hundreds of red flags scattered throughout the smothering plane pieces and all along the ground.

However, I think the most cinematographically intense scene occurs when Olivia and her team must listen to the black box recording of the crash. The pilots start out just conversing between each other in a friendly manner and the camera remains zoomed out at a long distance from the team while they listen. But, as the action picks up and the crewmembers become increasingly stressed, the camera starts focusing in closely on the facial expressions of Olivia’s team. Eventually, the camera starts cutting faster and faster between their horrified faces as the recording on the box intensifies. Finally, after all this action has built up, the camera stops on Olivia’s face, which fills the entire frame, at the exact moment that the plane crashes and the audio cuts out. Thus, viewers are left with her intense look filling the screen and it is completely silent. This very dramatic sequence of cinematographic elements increases the heart rate and suspense of viewers as they watch and listen carefully to this scene, just as the team’s heart rate and suspense rose when they listened to the black box recording.

Therefore, I believe in this episode of Scandal, the cinematographers desire to use their filmographic art to connect the viewers to the emotions and experiences of Olivia and her team.

Nothing to See Here – Cinematography in Fresh off the Boat

By Arvin Poddar

On October 12, 2018

In Review Topic 3

After watching many episodes of “Fresh off the Boat,” it’s still hard to decide if there any elements of its cinematography that distinguish it from its counterparts. For the most part, the show follows similar shoot patterns as other ABC comedy shows (except for “Modern Family,” which mostly uses shaky shots to simulate a reality show). Conversations are shot with quick cuts between the talking characters, and with most of the show being conversations, we rarely see any continuous shots. For a show that is so unique, it’s a shame that its editing is essentially a carbon copy of its channel-mates.

The use of color, however, is a bit more interesting. Most of the show is filmed in well-diffused daylight. The walls are always a pastel color, and this combination of color and light create a constant “warm” feel to the scenes. This mundane warmth could be representative of their new, cookie-cutter life in the American suburbs. It could also represent their new comfortable lifestyle thanks to the restaurant’s success. Another interesting color scheme difference in the show is not quite related to cinematography but is still interesting enough to be noted: clothing. Throughout the show, the white women in the neighborhood are always shown wearing brightly colored clothing with very unique patterns, a trademark of the early 1990s. In contrast, we see that Jessica almost always wears plain, light-colored clothes. This is likely a note of the cultural difference between the two parties; a direct symbol of the Huang family’s conservative values. It also shows that in spite of how well the Huangs have immersed themselves in their surroundings, they still remain different and not entirely a part of the community yet. This is especially apparent in S2E2 (my current episode), during which the neighborhood women (Honey included) make several more appearances alongside the Huangs than a typical episode.

Note how Jessica stands out from her neighbors. A clear example of color scheme differences used in the show.

I am far from a cinematography expert, so it’s safe to say that I am missing something, but as far I can see, “Fresh off the Boat” does not attempt to be unique in terms of cinematography. I believe the show-makers are aware that a majority of their audiences take cinematography for granted (myself included), so they focus more on the uniqueness of the plot. While it’s a little disappointing that the show does not innovate in this aspect, it doesn’t take away from it as a whole. “Fresh off the Boat” makes it place with unique writing and casting, not with camerawork.

Love and Honor

By Callie Anderson

On September 11, 2018

In Review Topic 5

Today, September 11, 2018, marks 17 years since 9-11. Thus, today seems an appropriate day to analyze the very first episode of Scandal which deals directly with military service, honor to your country, and respect. Most importantly, this episode deals with love and society’s expectation of it. In this blog post, I will analyze the gender representation of a gay soldier in the “Sweet Baby” episode of Scandal.

Lieutenant Colonel Sully St. James, the most decorated veteran since the Vietnam War, and the primary suspect in his wife’s murder.

Overall, Scandal has a very large gender spread within it’s cast. The main character is a powerful female, Olivia Pope, and her team on the show consists of two other females and three males. Writer, Shonda Rhimes, created the show with a balanced cast, and throughout seasons 1 and 2 (all I have seen so far) the cast remains fairly balanced. However, at the end of the day, Olivia Pope is the ultimate leader and provides an almost overwhelming female presence to the show, alone. Above, I used the term “team” loosely, as Olvia really holds all the power. Whatever she says, goes. Even though she may extend a vote to her team, she many times completely over-rides their unanimous decisions with the opposite choice.

In this particular episode, the character Quinn lacks significance. Although fans will discover her meaning later in the show, during this episode she is pointless. We actually see her loose power throughout the episode. She begins strong and confident but ends the episode crying in the bathroom.

Despite these last two paragraphs being about the presence of women and their significance in the show, I really want to write about the underlying gender representation in this particular episode regarding the gay soldier, Sully St. James. James approaches the Pope team covered in blood, saying his girlfriend is dead, and that of course, he did not kill her. Olivia goes against all members of her team and decides to take his case simply because her gut tells her to. During their investigation, the team discovers James’s alibi… He was out kissing his boyfriend!

Yes. Yes. So, uh, here is where crap hits the fan.

Y’all, this man is crazy!!!

Sully St. James refuses to release his alibi to the public and chooses to be taken to jail instead! This drives Olivia crazy since she could have kept her client from prison and a death sentence, but instead, he chose his reputation as a Conservative, Christian, anti-gay war veteran over his innocence.

Olivia later encourages Sully St. James to think of sharing his story for reasons outside his innocence at stake. She tells him that he should be just as proud of who he loves as he is of his incredible military background. Olivia challenges the social norm and asks James to be proud of his identity as both a gay man and a conservative soldier. Thus, the show connects gender to sexual orientation and gender interactions axis of representation.

such scandalous love :)

English 1102: Television and Feminism

Dr. Casey Alane Wilson • Georgia Institute of Technology

Tag: 1102

Cinematic Crash

Nothing to See Here – Cinematography in Fresh off the Boat

Love and Honor

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