Textual Analysis (Exam Structure)

Introduction- DAC

• Definition
• Argument
• Context

Paragraphs- PEA

• Point
• Evidence
• Argument

Define the key terms

Example of exam structure:

Point: Ogres are like Onions

Evidence: Shrek 2

Argument: Arguably the best out of the 4 films

Binary Opposition of Les Revenants:

Life and death

Heavy Hitters:

• Polysemy: Interpreted to have multiple meanings. Les Revenants is hyper polysemic
• Negotiation: The audience negotiates the media product based on their own values and arguments.
• Ideology: Views and beliefs of the Producer. Hegemonic, Symbolic etc.
• Intertextuality: referencing other media products explicit or in-explicit
• Hegemony: Rules and regulations through consent.

"In the 21st century, it is essential for TV shows to offer multiple meanings"- evaluate this claim with reference to Les Revenants.

Underline the key terms

Knee jerk reaction: Yes

• Because it generates a wider target audience.
• Shows like Les Revenants are highly polysemic and therefore are statistically successful.
• Multiple meanings distribute a larger amount of negotiation,
• multiple meanings cultivate a larger audience

The return of Camille scene:

shot reverse

over the shoulder

deep bass soundtrack progressively increases 

Mother's body language is shocked, holding onto the walls as she walks.

Intense soundtrack begins as she hides her memorial pictures.

Contrapuntal music

Polysemic reactions from the audience

Mid shots lots of close ups

Long shots of Camille in the kitchen and Mother in the landing.

Adults will identify with mother

Younger audience identify with Camille.

Colour grading is low key lighting with subtle and homely colours to resemble the return of Camille. Emphasises the cozy features of a house at night to the audience. This conflicts with the mother's perspective and emotion of this scene as she is feeling extreme confusion and shock, whereas Camille is perfectly fine.

Non-diegetic soundtrack establishes a creepy and oppressive atmosphere

A range of close up shots presented in standard shot reverse shot conveys to the audience and establishes that Camille and her mother are talking to cross purposes. Establishes a binary oppositions between the mother and daughter, creating conflicted responses for the confused audience.

This scene deliberately encourages the audience to negotiate the mother's thoughts as she climbs up the stairs after just being confronted by Camille returning from the dead. Horror is immediately anchored by the sudden use of the Glaswegian's band Mogwai's non-diegetic soundtrack.

The family home setting is familiar to Camille and the middle class audience. The bianry opposition is established between Camille's comfortable familiarity and her mother's absolute terror.

Low key lighting emphasises the disconnectedness of the Seurat family. Also highly paradigmatic pf the horror genre.

Key theme is mortality and the inevitability of death.

Existentialist philosophy, almost stereotypically French

Opening 

• use of music - reaches a crescendo at the point here the butterfly emerges from the display, demonstrating to the audience a key symbolic code, helping them to understand the complicated narrative
• Low key lighting and desaturated colour grading in the scene where Camille returns home emphasises to the audience a potential hermeneutic code, and forces the audience to negotiate their own perspective on the narrative. This enforces a polysemic reading of the text.
• Camille has more screen time on the bus, and is consistently framed in a montage of close up shots which positions the audience with the young Camille. Camille's age allows teenage audiences to invest in the complicated narrative. 
• The sudden and mysterious dip to black following the long shot of the traumatic bus accident is symbolic of not only the audience's own confusion and the show's primary theme of death and finality
• Establishing shot and the subsequent long shots of the bus establish an isolated and exotic setting for the secondary British and international audience. This emphasises the importance of Les Revenants adopting a polysemic narrative. It must mean different things to audiences of different nationalities. 
• Generically highly unconventional of the supernatural/horror genre. Lacks generic paradigms such as corpses, blood, monsters etc. It is not until much later in the narrative Camille is established to be a very unconventional 'zombie'.
• Long shot static shot of bus flying off highway is accompanied by diegetic screaming, yet no other camera movement demonstrates to the audience that the show will take an unconventional perspective on death and other grand themes.