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| By being placed or situate in a stereotypically domesticated middle class setting, Anita's status as a stereotypical, hegemonic construction of a woman is reinforced. This setting also provides a binary opposition between the highly sexualised brothel setting, which again suggests that there are two diametrically opposed representations of femininity (see Freud's 'madonna and whore' theory). |
- MS of Anita cooking reinforces a long held female stereotype
- CU of iron on ironing board, a metonymic representation of femininity
- Challenging stereotypes: Matty has dreams of being a doctor? A programmer? Both non-stereotypical female roles
- Matty calls brother 'knob-cock', highly unladylike...
- MES of Laura and Anita facing each other: a contrast in terms of motherhood and humanity. Is Anita a 'perfect other'?
- A range of attractive female characters to appeal to a heterosexual male audience
- Sexualisation of Anita:18 plus rating similar to online pornographic website
- Anita carrying the child in to the suburban night functions as a hermeneutic code, enticing the audience to interact with the next episode
- MES of water running down window is symbolic of Anita's past, raising themes of loss, emotion and humanity
- Diegesis - in the world of the narrative
- Diegetic narrator underscores key plot information, allowing the audience to comprehend a difficult narrative, and to reinforce themes such as "what is love?"
- Men consistently represented in positions of dominance. The punter in the brothel has a shaved head, rough clothes and briefly barks orders at Nishka
- Double standards of representation. Women often sexualised. Nishka's revealing costume. However the camera zooms in on Nishka's face. acting as a direct mode of address top the audience
- The preferred response is for the audience to identify with Nishka, and to feel as uncomfortable as possible. This is further anchored through the lexis that the punter uses, which is both unloving and aggressive. This is further reinforced by Niska's dead expression.
- Van Zoonen: Male gaze. Women as object to the male. 'We're not taking it back'. Dismissive objectification of the female cyborg