Representation Analysis

      Representation in media is defined as the methods in which media chooses to portray reality, specifically within certain groups of people. Because media has been controlled by a small population of people (meaning upper-middle class white men) for most of history, representation within minority groups is quite poor. The ways certain individuals are presented within media usually stem from preconceived stereotypes or expectations. 

      Some groups that are commonly misrepresented or poorly represented are people of color, LGBTQ+, the elderly, people with disabilities, women, and people with mental illnesses. Communities that are not often seen within media (like the elderly or people with disabilities) can make people feel isolated from the general public, and it can also lead to a misunderstanding of how people in these groups behave or interact with others. Exaggerated stereotypes (often seen in comedies or used as jokes) do significant damage for various racial and ethnic groups, making them viewed as distant and lesser from groups that are considered to be the 'norm'. It also leads to generalization and a very shallow perspective of how a group is like. 

      These shallow perspectives enforced through media can create and/or enforce expectations on how people should interact between others. These attitudes can be demonstrated with the 'Gay Best Friend' trope seen in many teen movies, or the idea that a women's role is to please men. 

https://criticalmediaproject.org/axe-body-spray-commercial/

An example of the notion that women are subordinate to men. Women are objectified, sexualized, and portrayed as 'creatures' who are chasing after a man who is doing nothing but spraying axe. While it may have only been used as a joke to sell a product, it does not mean it does not enforce traditional gender roles.

     Even if these representations means no harm or the creators do not truly believe the content they are creating, they still can permeate through generations and cultures. These misrepresentations bring divisions among people, belittle the value of the people in specific communities, and do nothing to promote the equality or acceptance that many of the groups do not have amongst the general public. Over the recent years, many people have been striving for better representation within the media, and there seems to be a slow yet steady shift. While there is still a long way to go, it is evident that the protests and persistence for better representation and more diversity are making a difference, one that will make media for everyone. 

https://criticalmediaproject.org/hm-close-the-loop-ad/

An example of diverse representation through an H&M ad. Some can argue that this form of diversity is only used to draw appreciation from viewers so they can sell products, therefore it is superficial.  However, it definitely is a step in the right direction in terms of how representation should look like. 

The Inner Workings of Drama: A Genre Study

INTRODUCTION 

There is no denying that humans are emotional creatures, which is why dramas have thrived for centuries. It is widely considered to be one of the first forms of genre created (traditionally in plays and literature) and it still continues to attract audiences of all age groups. As media began to expand, drama itself started to grow, making the categorization of dramas increasingly broad, especially when it comes to film.

However, there are defining qualities that act as a ‘base’ to help us understand what a drama is and what it is not, and many media analysts have specified certain elements that are essential for a film to be called a drama. 

GENRE CONVENTIONS- CONTENT

On a basic level, 'drama films' are stories presented in a serious manner, usually based on reality rather than fantastical settings. They heavily rely on the emotions of the characters and intensity of the situations they are under. Another key element (if not the key element) is that dramas explicitly focus on the human condition and the effects of a character’s reaction to an event or being. As quoted by Tim Dirks, author of filmsite.org: 

“A dramatic film shows us human beings at their best, their worst, and everything in-between.” 

The subject of a drama film is unlimited; there are no set rules as to what needs to occur within the setting and the characters. As long as the film prioritizes the character’s reaction to the film’s subject, surprise! You made a drama! Because the subject of dramas are only limited by its creators, the genre encompasses a diverse range of films. 

Some common subjects and themes presented in dramas are current events, societal/class issues, inequality (amongst race, gender, sexuality, etc.) political injustices, mental health, and corruption of power. A lot of contemporary dramas seek to bring modern-day injustices and inequality into the public eye, a perfect example of this being the Netflix miniseries When They See Us.

Clip from When They See Us (2019)

However, it is important to note that not all dramas must be gritty representations of our world. Some dramas take a more light-hearted or a ‘semi-comedic’ approach, such as teen dramas. Also, while dramas do have to be set in our real-world, that does not necessarily mean they cannot have magical or supernatural elements laced within the story (although there appears to be a limit, as too much can turn a film into a fantasy or a sci-fi rather than a drama). 

Some other examples of sub-genres that fall under the drama category are listed below: 

• Melodramas
• Medical and Legal Dramas
• Anthropological Dramas
• Religious Dramas
• Historical Dramas

GENRE CONVENTIONS- PRODUCTION

Because dramas focus on characters and their emotions, one of the most important production components within a drama is the writing and dialogue. Without solid writing, it would be impossible for a drama to explore a theme or subject, let alone a character’s reaction to the film’s topic. Dialogue is the one thing that pushes the plot in a drama forward (rather than using other elements unlike experimental films) so writing is also essential that aspect as well. 

Generally speaking, misc-en-scene and set design is not as prioritized in dramas. However, if done right, they can give a film an edge in terms of making it more memorable amongst an audience and can reflect the overall tone of a scene in a very creative manner. A really good example of this would be the movie The Theory of Everything (2014). This film beautifully uses color within the set design to symbolize the emotions of the characters, specifically with the main character Stephen Hawking.

The use of blues and greens evoke a sense of happiness, peace and clarity within the couple's lives 

The scoring and music of a film are also very important constituents for production in dramas. They are crucial elements in creating or amplifying specific emotions, and it can also convey certain traits of a character without wasting time to say it aloud. One prime example of this would be in the film, The Devil Wears Prada. When the antagonist of the film, Miranda Priestly (played by Meryl Streep) enters her office, the mysterious and scary music paint the character in an evil light, and suggests there is an elusiveness to her persona.

Miranda Priestly in The Devil Wears Prada (2006)

On the subject of character development, costume design also works in implicitly revealing the traits and complexities of a character, making it another element important within the drama genre. Going back to The Devil Wears Prada, the use of luxurious, high-class and slightly uncomfortable clothing marks which character highly value fashion in comparison to the ones who do not, as they wore neutral colors, loose fabrics, and modest prints. 

Progression of Andy in The Devil Wears Prada through her clothing (her costuming alone tells the story)

INSTITUTIONAL CONVENTIONS- HOW GENRE IS MARKETED

The Marketing strategies that are employed for the drama genre in film strictly use trailers, ads, posters, and a specific ‘cover’ to the film to sell their movie. They tend to vary based on its target audience rather than the genre itself (because as mentioned before, drama films can cover a wide range of subjects). Usually the two factors that determine a film’s marketing strategies are age and gender. 

Dramas that are marketed towards men (specifically middle-aged men) typically include visuals that invoke masculinity and serious tones. The color-palette consists of dark blues, neutral tones, and occasional pops of red or bold colors.

Movie poster for 12 Angry Men (1957)

Conversely, dramas that are marketed towards middle-aged women typically softer and ‘feminine’ visuals, such as portraying conventionally attractive women or couples. Since most dramas geared towards women are about other women and/or their relationships, this pattern is logical. While the use of blues is often used just like men’s dramas, there tends to be a wider assortment of colors, and definitely more use of red to invoke romance or excitement. 

Movie cover for Steel Magnolias (1989)

These dramas aimed at adults do not step out of the lines when it comes to their marketing strategies, probably with the intention of eliciting nostalgic feelings or to possibly to prevent their audience from being mislead. 

Dramas whose target audience are young-adults and teens are unique in their strategy, as the modern marketing schemes appear to be ‘gender-neutral’ (although it still has the subtle intention of appealing to women). Films such as Call Me by Your Name use blues, but the imagery of the men in the sunlight invoke a warm tone unlike the visuals of a traditional male drama. 

Call Me By Your Name (2017)

Another example would be the cover of Lady Bird. It uses red-tones, but the expression of the girl with the neutral tone behind her evoke emotions of sternness and valor. It also suggests that the girl is probably is defiant and angsty, something that appeals to teenage girls.

Lady Bird (2017)

This change that is being seen amongst young-adult dramas is beginning to seep into some adult dramas (such as Moonlight). It appears as if the dramas meant this audience have a gender-neutral image to possibly convey that the film is contemporary, rebellious,  and possibly contains artistic motifs, which is something that definitely appeals to a teen audience/young-adult audience.

DRAMA FILM SAMPLES

BLACK SWAN (2010)

Directed by Darren Aronofsky, this beautifully tragic film elegantly embodies what a drama can do and its potential in criticizing humanity’s flaws (in this case the flaws of striving for perfection). We main character, Nina (played by Natalie Portman) strip her innocence, lose her identity and her sanity to play a ballet role she deeply desires. The dialogue and direction of the characters slowly work to draw the conclusion: to achieve perfection is to accept the loss of self. It also is a perfect example of a drama using abstract elements and symbolism to tell the story, without having it deviate to a surrealist or experimental genre. 

Nina in Black Swan 

DUNKIRK (2017)

This unconventional war film directed by Christopher Nolen serves as an example for every historical drama through its fresh perspective of World War 2. Its main theme includes the trauma war has, and rather than explaining the war through traditional methods (like a narrator or official) it gives an intimate viewpoint of the war through a soldier. The main character Tommy (played by Fionn Whitehead) goes through his experience of the battle in Dunkirk and nothing else. The absence of any backstory cements the idea of his role as a soldier, and brings the deeper idea of how the lives of soldiers are insignificant in the grand scheme of war. This film is an exceptional example of a historical drama, letting go of the old notions of traditional war films.

Tommy in Dunkirk

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