Creative Critical Reflection - Foundational Portfolio

CCR - Foundation Portfolio:

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Representation Essay - Downtown Abbey (Status and Class)

This clip follows the introduction of the Period drama, Downtown Abbey. In this clip, it uses the 4 key elements, Camera, Editing, Mise-En-Scene and Sound to showcase and present to us as the viewers the gap and contrast of the representation class and status that is present in the face of the Crawley family and their servants, a contrast that is a main focal point for the series. 

The clip uses editing in the aspect of the pace of its cuts between each scene to highlight to us the contrast of the class and status of the Crawley household. When we are introduced to the lower class, in this case, the servants of the Crawley household, the editing of the cuts follows that of a faster pace as we see multiple actions of the different servants compiles together in quick succession. This highlights to us as the audience, just how hectic the life of the lower class in the Crawley household really is and it really involves the audience as we feel that fast-paced tempo as the servants rush to finish their breakfast, and finalise the preparations for the Crawley's breakfast. This stands in comparison to the editing of the Crawley family, which follows a significantly slower pace. This highlights the simplistic and relaxed lifestyle of the Crawley family, almost giving off the feeling that they are separated almost from the rest of the world and when placed into the context that just below them, their servants are living such a hectic and rushed lifestyle it really does paint us a picture of just how different both classes really are, almost giving off the feeling that there are two completely different worlds both fitting in the interiors of Downtown Abbey.

The use of camera work in this clip helps to highlight the representation of the contrast between the status and class of the people living in Downtown Abbie. At the start of the clip, we see the camera slowly pan away from the newspaper boy in order to fit in, the sheer size of Downtown Abbie into frame. This highlights to the audience just how insignificant and small the boy is compared to the people living in Downtown Abbie, even as he is depicted to be coming out of the shadow cast by that of a tree, it symbolises that he is leaving behind a dark and lower social and into the embrace of the bright and shadow-free society that is the upper class. This starting of the clip heavily not only signifies the large gap in the bridge that connects the two different classes but it also signifies that this theme is going to be present throughout and will probably be one of the main focal points of this drama. Shortly after this, we are introduced to one of the Ladyships of the Crawley households, and straightaway we see her peer over the newspaper boy through the window. This symbolises and reaffirms the previous symbol of the dominance the upper class has over the lower class, as the ladyship is depicted as looking above that of the lower class and thus could be interpreted as her looking down on him may be due to pity, or it just being due to a general sense of intrigue due to it being a break from her upper-class lifestyle. When we are introduced to the servants of the Crawley household, the camera movements for example panning, is rather fast-paced. This could be the director trying to mimic the quick lifestyle as along with editing, we are constantly either swaying or cutting to a different character, this paired with the almost congested feel we get due to the camera constantly shaking and the characters being so close to frame or in general, crowding the whole shot, the claustrophobic feel we get highlights how little space the servants have to work in and the sheer amount of them. This put in comparison with the camera's movements when it comes to the Crawleys, which is rather slow compared to its movements with the servants and thus gives us a feeling of peace and calm. An example of this would be when the Lord enters, we are introduced to him with the camera filming his back and we follow his rather slow but grand pace. This tells the viewers that the Lord is supposed to be above us as all we see of him at the start is his back this compiled with us and the camera has to follow his pace simulates us almost being his follower. This along with the wide shot that almost pans and tracks through the arch pillars insinuate to us as the viewers, that his life we are entering is very grand and almost royal like. The wide and spacious feel we get due to him always being in centre frame giving us more peripheral views of his surroundings, ultimately give us something we can use to compare and contrast against the tight and confined areas that are inhabited by the servants which by comparison leaves the servants working and no doubt living quarters rather meek and almost disgusting. The camera is used to highlight the significance the Crawly family has. In the scene where Lord Crawly sits down to have breakfast, the camera pans down to him despite it Mr. Carson being taller than him in frame. In this shot, we see that whilst the camera is essentially fully focused on Lord Crawly, due to him being in center frame and the camera had panned down to match his height sitting down, Mr Carson seems almost confined to the wall as though his presence is just as significant as the paintings and wallpaper plastered on the walls. 

The mise-en-scene used in this clip helps to covey the gap between the upper and lower class mostly on the basis of their clothing and the overall setting they are centered around. When we are first introduced to the first ladyship, the first thing that most of us as the audience would notice is the white gown she is wearing. This white gown could represent purity and could be a hint towards the upper class being deemed almost angelic compared to that of the clothes we see the servants wear9ng which are bland and basic, with colours like dark green and black, it almost seems like an attempt on the directors end to almost make us as the audience want to avoid looking at their clothing and thus removing a significant amount of importance from their roles in the show. 

Sound in this clip is an effective technical element to portray the separation of class but it is also significant in creating a bridge between the classes. When we witness the lower class, the music that is played is digetic with things like hectic spoon clashing, shouting forming the background sounds. This instantly gives the audience the feeling that the lower class life just revolves around work and is rather hectic, however when compared to the music that is played when we are introduced to the upper class is that of non-diegetic music, consisting mainly of the piano. This gives off the feeling of grandeur and peace which is the complete opposite of what was being played for the lower class. However as mentioned before, sound actually plays the role of bridging the two classes together. The same background music is played in the midst of both the upper and lower class, for the lower class it is played constantly in the background however for the upper class, it is only played when we are first introduced to the ladyship and even then it is when she peers down onto the newspaper boy.  The next time we hear it in the presence of the upper class is when the Crawleys find out that their two heirs had sunk with the Titanic. This signifies that tragedy no matter the class hits and has the same effect regardless thus bringing the two classes closer together.