Sex scene :
- Voyeuristic birds eye view close up shots of Lena and her boyfriend in bed makes the audience feel uncomfortable as if we shouldn't be there with them. This is anchored by the use of low key lighting which connotes intimacy and sex
- Birds eye view of the coach going over the cliff into a shock shot as the episode ends, leaving the audiences confused which would be the preferred reading most likely
- Hermeneutic codes through Camille feeling what Lena is also feeling leaves the audiences wondering what's happening and why
- Mid shot of Lena's clothing at the start; a white top being a sign of purity and innocence; Symbolic and hermeneutic codes
- Mise-en-scene of the kitchen and house shown through the long panning shot at the start of the scene would appeal to it's middle class audience
- A relatable scene to the teenage audience; pretending to be sick in order to have their boyfriend over who their parents wouldn't approve of
- Lena's boyfriend looks stereotypically working class which creates a diametric opposition as Lena is middle class; which in turn makes her rebellious
- it has a relatively positive representation of sex in general; there is consent. it is sex positive and she receives no punishment through it.
- There are contrasting colours as the shots keep switching between Lena and Camille; The cool and bland colours of Camille being young and boring whilst Lena's shots have a warm and red tint which shows warmth and passion; creates a binary opposition
- Lena and Camille are both symbolically linked as one which is quite mysterious
- Petit mort (orgasm in french) which is quite poetic; it means 'the little death' which could mean you leave something behind after every orgasm, losing purity.
- Lena is acting out what Camille is feeling; Lena is instead acting out what she is meant to be feeling; Gender performativity.
- Camille is covered up and looks as if she is a closed off person, she is sat next to no one on the bus, Lena looks as if she is more out going and advanced as a person, the mise-en-scene of the big coat she is wearing connotes her insecurities
- The coach is a relatable setting for the young secondary target audience because of school trips however is also relatable to the primary target audience of older middle class people who would remember their school trips when they were younger.
- Highly mysterious hermeneutic code of whether or not the twins know of their symbolic link and whether Lena is going through with sex with her boyfriend even though she knows that Camille might freak out, etc.
- Middle aged middle class audience would feel relatable to Lena's mother who doesn't believe Lena is actually ill.
Victor stalks Julie :
- Low key lighting creates a scary tone and tension as well as the mise-en-scene of the council blocks of flats which infers Julie is working class. Stereotypically these areas are more rough and crime is more common which makes the idea of being stalked worse. The establishing shot of Julie walking through her area may suggest danger and threat
- The shot of Julie looking out at Victor on the grass and then looking back a few seconds later, with him no longer being there causes the audience to make assumptions on who he is and what his intentions are; then for him to make it all the way up to Julie's flat in that time is unnatural; proairetic code in order to create suspense which is typical of the horror genre
- Generic hybridity through the use of multiple conventions in order to target multiple audiences
- The long slow tracking shot following Mr Coster through his hallway is a proairetic code; we as the audience expect something to jump out.
- Julie really doesn't care about the kid being in the back of her garden just saying "What's he doing here?" almost making it seem as if she knows him. She seems very no-nonsense and laidback.
- Julie is wearing this big oversized jumper which suggests she is very casual and looks relaxed, doesn't look as if she cares what she looks like which is unconventional for a female in a tv show. this doesn't conform to gender stereotypes. She doesn't look very expressive and instead looks quite empty; she has bags underneath her eyes, her eyes are small and narrow, her hair is messy and has been put up; isn't a hegemonically attractive person however Julie looks very french and instead would appeal to the French audiences more
- She is a creative and artistic person, the mise-en-scene of the drawings, books, and posters reinforce this. She is therefore stereotypically academic. she comes across as relatable to a younger student audience.
- There is a binary opposition between Julie and Victor
- The cold blue lighting of the scene at the bus stop infers danger and being alone; This scene would be relatable to the majority of the audience for those who have used public transport at this time of night; however the longshot longtake of Julie at the bus stop, she doesn't look bothered or tense and yet then she is approached by Victor through the dark background which reinforces the horror genre. A proairetic code is constructed through the idea of Julie being assaulted at the bus stop in the middle of the night, leaving us to think danger is near and instead of that, Victor emerges from the dark.
- The non-diegetic soundtrack is especially creepy
- Voyeuristic birds eye view close up shots of Lena and her boyfriend in bed makes the audience feel uncomfortable as if we shouldn't be there with them. This is anchored by the use of low key lighting which connotes intimacy and sex
- Birds eye view of the coach going over the cliff into a shock shot as the episode ends, leaving the audiences confused which would be the preferred reading most likely
- Hermeneutic codes through Camille feeling what Lena is also feeling leaves the audiences wondering what's happening and why
- Mid shot of Lena's clothing at the start; a white top being a sign of purity and innocence; Symbolic and hermeneutic codes
- Mise-en-scene of the kitchen and house shown through the long panning shot at the start of the scene would appeal to it's middle class audience
- A relatable scene to the teenage audience; pretending to be sick in order to have their boyfriend over who their parents wouldn't approve of
- Lena's boyfriend looks stereotypically working class which creates a diametric opposition as Lena is middle class; which in turn makes her rebellious
- it has a relatively positive representation of sex in general; there is consent. it is sex positive and she receives no punishment through it.
- There are contrasting colours as the shots keep switching between Lena and Camille; The cool and bland colours of Camille being young and boring whilst Lena's shots have a warm and red tint which shows warmth and passion; creates a binary opposition
- Lena and Camille are both symbolically linked as one which is quite mysterious
- Petit mort (orgasm in french) which is quite poetic; it means 'the little death' which could mean you leave something behind after every orgasm, losing purity.
- Lena is acting out what Camille is feeling; Lena is instead acting out what she is meant to be feeling; Gender performativity.
- Camille is covered up and looks as if she is a closed off person, she is sat next to no one on the bus, Lena looks as if she is more out going and advanced as a person, the mise-en-scene of the big coat she is wearing connotes her insecurities
- The coach is a relatable setting for the young secondary target audience because of school trips however is also relatable to the primary target audience of older middle class people who would remember their school trips when they were younger.
- Highly mysterious hermeneutic code of whether or not the twins know of their symbolic link and whether Lena is going through with sex with her boyfriend even though she knows that Camille might freak out, etc.
- Middle aged middle class audience would feel relatable to Lena's mother who doesn't believe Lena is actually ill.
Victor stalks Julie :
- Low key lighting creates a scary tone and tension as well as the mise-en-scene of the council blocks of flats which infers Julie is working class. Stereotypically these areas are more rough and crime is more common which makes the idea of being stalked worse. The establishing shot of Julie walking through her area may suggest danger and threat
- The shot of Julie looking out at Victor on the grass and then looking back a few seconds later, with him no longer being there causes the audience to make assumptions on who he is and what his intentions are; then for him to make it all the way up to Julie's flat in that time is unnatural; proairetic code in order to create suspense which is typical of the horror genre
- Generic hybridity through the use of multiple conventions in order to target multiple audiences
- The long slow tracking shot following Mr Coster through his hallway is a proairetic code; we as the audience expect something to jump out.
- Julie really doesn't care about the kid being in the back of her garden just saying "What's he doing here?" almost making it seem as if she knows him. She seems very no-nonsense and laidback.
- Julie is wearing this big oversized jumper which suggests she is very casual and looks relaxed, doesn't look as if she cares what she looks like which is unconventional for a female in a tv show. this doesn't conform to gender stereotypes. She doesn't look very expressive and instead looks quite empty; she has bags underneath her eyes, her eyes are small and narrow, her hair is messy and has been put up; isn't a hegemonically attractive person however Julie looks very french and instead would appeal to the French audiences more
- She is a creative and artistic person, the mise-en-scene of the drawings, books, and posters reinforce this. She is therefore stereotypically academic. she comes across as relatable to a younger student audience.
- There is a binary opposition between Julie and Victor
- The cold blue lighting of the scene at the bus stop infers danger and being alone; This scene would be relatable to the majority of the audience for those who have used public transport at this time of night; however the longshot longtake of Julie at the bus stop, she doesn't look bothered or tense and yet then she is approached by Victor through the dark background which reinforces the horror genre. A proairetic code is constructed through the idea of Julie being assaulted at the bus stop in the middle of the night, leaving us to think danger is near and instead of that, Victor emerges from the dark.
- The non-diegetic soundtrack is especially creepy
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