In the sequence of ‘Monarch of the Glen we are essentially presented with two oppositional worlds, divided by age. That which defines the youth is represented through the character of Amy, whom I would argue through technical construction, is privileged throughout the clip. The older generation is most clearly defined through the character of the head teacher, although the remaining members of the community also occupy that more traditional space. Finally, the character of Paul makes for interesting analysis as it appears that he is the ‘Mediator’ between the two generations and within the clip, bridges the age divide.
Mise-en-Scene is the first area in which interesting representational issues are presented. The rural setting of the piece, mixed with the natural lighting and rather bland colours initially seem an unnatural setting in which to presents issues of youth. Certainly therefore when we are first introduced to Amy. In her bright yellow top and high – street - esque fashionable jeans, she seems at odds with her surroundings. Previously we had seen members of the community dressed in traditional farming cloths including Barber jackets and Wellington boots. It is through this opposition that the audience is initially asked to empathise with Amy.
When she initially speaks to her friend, her body language clearly suggests she is not entirely comfortable, thus establishing the key enigma of why is Amy the outsider in this scenario.
Mise-en -Scene further drives the narrative when we see Amy inside the Land Rover. The use of this vehicle subverts the traditional notion of a teenager driving and a small car as their first vehicle – again suggesting that Amy has no place in this environment. Narratively up to this stage we are still expected to believe that Amy’s separation from her environment is not due to her age but infact perhaps by the fact that maybe the rural life is at odds with her personality.
The next scene however dispels that myth. When following the car accident we learn of Amy’s true age. It is interesting to note her body language in these scenes. Upon noticing her headmaster, Amy is constantly seen in the clutches of other characters. She almost appears to visibly get younger on screen as she shows signs of insecurity demonstrated by the need to hug those she loves. Her facial expressions (presented through a series of mid/close-up shots) clearly show that she is distressed and worried and her desire to seek solace in others around her ensure the audience recognises her vulnerability. It is here that for the first time she is represented as a girl who perhaps stereotypically needs saving from the perils of adulthood and facing up one’s own responsibities.
When we scroll to the next scene the audience find themselves transported to a very different setting. One which shouts of traditional and formality. The oak room is noticeable in that it is the only location which shows an absence of youth - indeed the only characters who inhabit this space are Paul and the Headteacher. The formality of this room which arguably is reminiscent of a court room conforms to the representation that with age comes wisdom. Even the use of the brandy used as a prop supports the aforementioned sense of tradition and formality. This clearly juxtaposes all that we have previously seen with the uncertainty, vulnerability and naivety of youth demonstrated by Amy. Indeed when Paul leaves the room his aggressions towards Amy sparks a somewhat stereotypical demonstration between the ages with Amy ultimately running away from the situation. The audience will notice how this inability to resolve the situation between Paul and Amy in a supportive way, juxtaposes the previous conversation they witnessed between two adults (Paul and the Headteacher) whereby progress was clearly made.
The final scene with Amy where she is in the children’s bedroom provide further evidence that youth is represented in and may which encourages and motivates the audiences sense of empathy towards youth. Here we see Amy in a room which finally demonstrates and sense of vivid colour. It is no coincidence therefore that this is a location in which Amy appears to hold closest to her heart. The use of decorative cards, pyjamas and the teddy bear hint at the innocence of youth and interestingly Amy is careful in the way she places the items. She is a character that despite her age is able to show a tremendous amount of compassion and in a age fuelled by negative representation of youth culture, this in incredibly refreshing to see. The vulnerability that we saw in Amy following the accident is further highlighted through visual codes such as the way she appears to hide her hands under her sleeves and through the use of props such as the family photographs.
The way that camera is used in the clip further highlighted the distinction between the ages. The initial high angle establishing shot of the workers and their tools represents the sense of community we feel when we consider the adults within the clip – The togetherness of the community is demonstrated throughout the sequence as a series of shots show many people in shot – in a way that almost appears to be an intellectual link to the dwarfs in Snow White.
With Amy however the camera differs. Her first appearance is made through clever composition as she is perfectly framed by the door. As she walks into the yard then camera pans with the sole purpose of ensuring that she remains in the centre of the screen. The over the shoulder shot remains focus on her as she admits to having something to explain. It is here that the clip is cleverly edited to draw the audience in to Amy’s particular story as the ….. Interruption of Paul prevents her from stating her case. The audience are left wondering what she wanted to say – perhaps this editing of the narrative also hints at the way young people may typically feel that they are not listened to.
Having received the key, albeit in rather clumsy and playful way (further highlighting the youth that Amy is representative of) the mid shot of Amy remains on screen for what seems like extended period. She looks alone and once again vulnerable.
The use of close-ups that follow show the unnatural way that Amy deals with the starting of the car, it emphasises the methodical way that she has to work through the process. This use of camera draws attention to the fact that this is not a natural experience for her – once again this use of close-up places the audience within Amy’s world at and time when she is clearly vulnerable. Whilst the editing and camera is used in Amy’s case to represent her as stereotypically vulnerable - it differs when used to show the relationship between Paul and the headteacher. in this instance (as seen in the Oakroom) the two characters are shot in low angles - representing them as figures of authority it is edited in a way that Paul always appears in a two shot whereas the head teacher is allowed to occupy shots purely on his own. This again presents a hierarchy of age – suggesting the older you are, the more power and respect you command.
Camera’s movement and positional appears to Amy. When we see her in the bedroom the cameras roams freely with her using a series of pans - also the only evidence of a focus pull Is used on this scene when the camera focuses on the photos – it is as if we are now feeling Amy’s regret and anxiety.
This whole scene juxtaposes a later scene filmed in the same location when we see the elder female enter the same bedroom. This time the camera remains stationery and most interestingly shoots the entire sequence in one edit from a position outside of the room. Unlike with Amy, the anguish faced by this female is not worthy of our sympathy. Indeed when the same character reappears to tell Paul of Amy’s disappearance it is a cut to a close-up to show Paul’s reaction that demands our attention.
The use of editing to provide the Narrative structure of the piece is motivated by Amy – our initial misunderstanding of why she looks uncomfortably is hidden from the audience until the accident – our subsequent understanding – provided by several scenes encouraging us to further understand her emotional state constantly serene to represent her as a vulnerable and stereotypically naïve character!
The use of both diegetic and non-diegetic sound is also key to understanding the representational issues.
The non diegetic ambient soundtrack to the workers is a traditional and generic track associated with their rural environment. Yet the non-diegetic music we hear during Amy’s sequence tends to tell her story. In particular when she appears in the bedroom, the non diegetic music shouts of a sympathetic tone and foreshadows the event of her leaving.
Furthermore the use of diegetic dialogue further develops our understanding of representational issues. When the head initially addresses her by saying “Amy should have known it was you” his voice shouts of aggression, yet his following line directed at Paul is delivered in a calm manner suggested that as a ‘child’ Amy does not command his respect. Interestingly Amy is we seen and absence of her dialogue suggested she need the adults to decide her fate.
We have to wait until she is confronted by Paul till we witness the stereotypical response of “I hate you” diegetically delivered by Amy before she runs out of shot.
Ultimately though the use of Mise-en-scene camera, editing and sound we are presented with a sequence, which motivated by the character of Amy
It deals with the representation of ‘youth as something which is misunderstood, fragile and vulnerable. As the technical features privilege Amy’s story, we are encourage to think of the adults inhabiting a world which is represented by tradition, formality and reason, and opposes the youthful world which revolves around emotion.
