Media U4 Aos1 (Priscilla QotD)

Audience (Theory): 

Considers the way an audience receives and interprets media.

Considers:

• individual differences

• Viewing context and expectations. Alters audience’s experience of text + how they read and respond to it.

Audience Reception (Consumption): *physical environment

The physical way audiences consume media products and the context of time and place.

• Time of day, platform, physical environment → streaming service vs movies

Audience Engagement: 

How audiences are affected emotionally and cognitively by a media product. How these ways of engaging combine to form meaning and experiences (e.g. individual differences, expectations, preferences).

• Cognition and emotion.

• Individual Differences: - FACTORS -Age, belief, status/ class, race, health, education, gender, values, income, sexuality, nationality, ethnicity.

• Expectations/Preference: Understanding of genre, actors, knowledge of director and previous work, marketing.

  • Trailers, advertisements, word of mouth, reviews, hype, nominations and awards

Audience Response: *what audience does after

How audiences act or change their behaviour.

• What the audience did and how they responded after watching.

Historical Audience Engagement - Priscilla

• Factors of geography, individual sexuality, education religion - WHY FOR EACH.

• Earning over $2.5 million at Australian box office

• Released in more than 35 countries internationally

• Obtained an Academy Award in 1995

Contemporary Audience Engagement - Priscilla:

• Factors of education, age, nationality - WHY (more progression)

• Release of Priscilla the Musical debuted in 2006 - reaching international audience also.

• Cast recording = sold 35,000 copies, within its first year of release

• Queen of the Desert sequel announced 30 years film's original release

SYMBOLIC CODES:

SMAC:

• Setting

• Mise en scene

• Acting

• Colour

TECHNICAL CODES

CEAL…

• Camera

• Editing

• Audio (sound)

• Lighting

WRITTEN CODES

PST..

• Print (text)

• Spoken

• Typography

Camera (technical code) movements, angles, shot types

Angles:	Shot Types:	Movements:	Editing:
High Low Overshot Birdseye view Undershot Tilt	ECU CU MS LS ELS	Pan (left-right) Dolly/Tracking Tilt (up-down) Crane Steady Cam Hand Held Zoom (in-out)	Reverse Shot Eye-line match (Shot/reverse shot)

Audio (technical code)

• Diegetic: Coming IN story.

• Non-diegetic: ADDED to the narrative

Lighting:

• Expressionistic: non-naturalistically, extreme

• Naturalistic: the artificial lighting that simulates reality.

• Low-key: shadows are not eliminated. Very little artificial lighting.

• High-key: entirely lit by fill and additional artificial lighting.

• Soft Lighting

• Harsh Lighting.

STORY CONVENTIONS (7)

• Cause and Effect

• Opening, development and resolution of narrative

• Multiple Storylies

• Point of View

• Character

• Setting

• Structure of time.

COMPCSS (compass)

Story Convention - Cause and effect:

Establishes character, setting, themes and engages the audience. Features an event that starts the chain of cause and effect in narrative. 

Story Convention - Opening, development, resolution:

• OPE: Establishes character, setting, themes, engages audience.

• DEV: The characters attempt to resolve the conflict established in the opening - face several turning points.

•  RES: Narrative reaches climax, where the action subsides and there is a brief denouement - resolved or left open.

Story Convention - Multiple Story Lines:

Narratives usually feature more than one storyline. These storylines are often related and intertwined. Each storyline in a narrative is a result from conflict which can be internal or external.

• External conflict - outside the characters - eg: Nemo gets lost

• Internal conflict - struggle within the character themselves - eg: Nemo struggles with his self-esteem.

Story - Point of View:

The point of view from which the narrative is presented - may refer to a character, director, audience. 

Story - Establishment, development and relationships of character: 

Characters are causal agents, reacting to and triggering events. Character traits and motivations are established when audiences are first introduced to the character. 

Story - Setting: **ALSO SYMBOLIC CODE

Where the narrative unfolds. Important for character motivation and audience engagement.

Story - Structuring of time: (3)

Can be described in three ways: DFO.

• Temporal Duration - duration of events in narrative COMPARED TO screen duration.

• Temporal Frequency - Number of times an event or part of an event is shown to an audience.

• Temporal Order - Narrative structure/the structuring of events. **expand

Story - Structuring of time - TEMPORAL ORDER (4)

• Linear (chronological):

• Circular:

• Flash-forward:

• Flash-back:

CONTEXT OF PRISCILLA:

• Closely aligned to LGBT rights movements from the 1970s - Sydney 1978 peaceful protest with hostile police intervention - 53 arrested.

• HIV = Human Immunodeficiency Virus

• 1985, approx. 4500 men in Sydney and Melbourne had tested HIV positive. 

• Misconception surrounded the illnes - synonymous with gay community.

• In conservative areas - AIDS was seen as a by-product of “deviant lifestyles” = opportunity in inflicting blame, violence and hate onto the queer community for outbreak of disease. 

• Were perceived as villains, not victims.

• 1982: Australia sees the first reported AIDS.

• 1989-1990s: Gay hate bashings

• HOMPBIA + POLICE BRUTALITY

What is Discourse?

Set of ideas, images, and practices that provide a way of talking about a topic - Making meaning through the interrelationship between media texts, audiences and media organisations in society.

Values and Attitudes: (general)

Are the system of beliefs or values held or shared by a social group, class or institution. These beliefs are maintained in response towards discourse.

• Dominant - majority

• Oppositional - held by increasing number

• Emerging - held by small group, opposite to majority

Main Discourse IN TAOPQOTD: + definitions

• Sexuality → who a person is attracted to physically, emotionally and romantically.

• Gender → the socially constructed ideas of how individuals express gender - characteristics, norms, behaviours.

Main Dominant Values in TAOPQOTD: + definitions

• Homophobia → the prejudice, discrimination or hatred directed at same-sex attracted people or people who are attracted to more than one gender. 

• Masculinity → qualities or attributes regarded as characteristic of men or boys.

Emerging and Oppositional Values of Sexuality:

• Acceptance (Emerging)

• Violence (Oppositional)

• Complete Pride (Oppositional)

Emerging and Oppositional Values of Gender:

• Toxic Masculinity (Emerging)

• Gender Fluidity (Oppositional)

• Femininity (Dominant?)

SCENE: Sexuality → Tick confessing he has a wife: (16:00) REFLECTS dominant value of homophobia

*Cannot accept his fluidity of sexuality, burdens him and he worries about it.

• Flashback shot of them getting married (Story convention)

• Extreme close up of their hands, close up of their two smiling faces - Tick in full drag.

• Snippet of operatic wedding music

“My wife. I'm married.” - Tick

SCENE: Sexuality → Broken Hill Pub Scene: (22:00) REFLECTS

*Shirley as a representation of Homophobia (dominant value)

• Low-key dark lighting (lighting) - undertone of violence, suspence

• Pub, typically all male scene, crowd in background (mise en scene)

• (Acting) - hostile tone, physical violence of Shirley.

• Setting: Palace Hotel - Broken hill pub, piano abruptly stops, crowd chatter halts as group walk in - more staring. (sound, technical code)

“We got nothing here for people like you!”

SCENE: Sexuality → Aids Fuckers Go Home: (26:00) REFLECTS

*Open homophobia towards group, referencing outbreak of HIV/AIDS at the time, lack of acceptance

• Long shot, full view of bus

• Ominous singular note - choir cord (sound) swelling dramatically

• Mid-shot of actors reactions (acting)

**“No matter how tough i think im getting, it still hurts”

SCENE: BOTH!!→ Performance to Indigenous People: (41:30) REJECTS:

*Emerging attitude of acceptance - two marginalised communities uniting, understanding of acceptance

• JIMMY invites group to his community's camp, where they perform "I Will Survive" together.

• Extravagant jumpsuits, wigs and makeup

• Midshots of indigenous crowd smiling, clapping along - join in with didgeridoo

• Full join in - mid shot of group + indigenous person in costume

• Indigenous singing in harmony with the soundtrack.

• *Digereedoo playing alongside “I will Survive” performance, Jimmy joining in also in extravagant costume - close up if smiling faces.

  Indigenous singing integrated also.

“Nice night for it.”

SCENE: BOTH!!→Bob’s acceptance of Group and pub scene: (54:00) REJECTS and reflects

*Accepting their work for what it is, not condemning their actions, emerging value of acceptance

• Wide shot of him clapping loudly in the silent crowd (acting, sound, camera)

• The rest of the crowd was silent. reject.

* “These days gentlemen are an endangered species”

SCENE: Sexuality → Coober Pedy - Frank Bashing: (1:04:00) REFLECTS and Rejects!

*Societal homophobia, distress as being pierced as gay, Frank wanting to bash Adam (Oppositional view - complete violence)

• Dark lighting

• Sharp, sinister slashing noice when Frank realises Adam is a man

• Menacing repeated choir note.

• Dark low-key light (violent undertone) 

• Wide shot of chase, dark figures running in the night, the removal of lighting with the music induces fear.

*”You fucking freak” - Frank

---

Frank standing up for Adam: (Emerging view)

“Get off him!”

SCENE: Sexuality → Tick talking to Benji about being his father: (1:26:00) REJECTS:

Tick’s realisation he can be a father + himself = self-acceptance.

• Angelic heavenly singing = mentioning potential boyfriend. Music swelling.

• Mid shot: tick running to benji in happiness - fully taking on father role

“What am I meant to say to the boy, I’ve never been so embarrassed!”

“Sorry about last night…I don’t always dress up in womens clothes… don’t get the wrong idea” 

“You know what I am, dont you.”

“Will you have a boyfriend when we get back to Sydney? “ “Maybe” “That’s good”

Heavenly angelic music play as Tick runs to Benji, smiling.

SCENE: Masculinity →Arriving in Broken Hill: (19:00) REFLECTS

*Challenges typical Australia portrayal of man as rough, heavy duty, dirty.

• Comparison of locals to group (sequence of close up shot reactions to their faces)

• *STARES FROM CROWD! (Close up, camera (technical))

• Extravagant dresses (mis en scene)

*Also the same conventions in broken hill PUB SCENE!

SCENE: Homophobia → Referencing dead name - Raph: (25:00) REFLECTS

*Bernadetts struggles with her past self, rejection from her family of who she really is.

• Close up eye-level shot of reaction (camera)

• Point of view story convention

• Physical fight breaking out (acting) - mid shot

“Said her name isn’t Bernie - It’s Ralph!”

SCENE: Masculinity → REJECTS

Dresses and Deserts - Stranded:

• Extreme long shots of vast Australian environment

• Long shots of Tick dancing in a neon dress in the sand 

• Twinkling sound effects.

—

*Same for (Cock on a rock in a frock)

• Choir, dramatic sounds.

• Heavenly music, long shots of outback canyon, close ups of group full glamed.

“A cock in a frock on a rock.”

—-

*Driving in Drag:

Silver billowing dress streaming in the wind, operatic music in the background, long shot of entire bus, silver outfit and contrasting red desert background, sitting on high heel → Adam.

(mise-en-scene, setting, sound, camera)

SCENE: Masculinity and Sexulaity →Bernadette Flashback to Childhood: (56:00) REFLECTS

*Lack of acceptance from family.

• Close up on sister opening cement mixer and her smiling face (before transition) holding a baby doll

“Have you been changing the cards around again, Ralph?”

*”They never spoke to me again, when I had the chop”

SCENE: Masculinity → Performance in Alice Springs: (1:21:00) REJECTS

*Acceptance of their performance, their expression of self and gender from the crowd

• Marianne, Bob, Benji, close up of them cheering loudly.

• Whole crowd clapping (wide shot)

**Contrasting to other areas.
“Yes! Magnificent! Bravo!”

Tick fainted at the sight of his son seeing him.

“You said he'd be in bed.”

FORM CONVENTIONS:

• Use of Imagery

• Use of Audio

Genre CONVENTIONS

• Character

• Location

The Adventures of Priscilla Queen of the Desert: Basics overview

Director: Stephan Elliott

Release: 1994, Australia

Actors: Hugo Weaving (Tick), Guy Edward Pearce (Adam), Terence Stamp (Bernadette)

Genres: Comedy, drama, road movie, LGBTQ+ cinema

Central themes: Identity, acceptance, prejudice, gender expression, friendship and belonging.

GENRE - Priscilla

Road movie	Follows three drag performers travelling across the Australian outback, exploring self-discovery, friendship and belonging.
Comedy-drama	Combines humour, satire and exaggerated performances with serious issues of discrimination, identity and rejection.

Road trip comedy drama?

STYLE - Priscilla

LGBTQ+ cinema	Centres queer experiences and challenges traditional gender expectations and heteronormativity.
Camp aesthetic	Extravagant costumes, vibrant colours, theatrical performances, exaggerated humour and deliberate artificiality celebrate individuality.
Australian cinema	Contrasts the stereotypically masculine, conservative Australian outback with flamboyant drag culture, challenging traditional national identity.

Historical Beliefs - Generally (1994)

INTERPRETATIONS:

• Progressive audiences: May have celebrated the film's positive LGBTQ+ representation, individuality and challenge to traditional gender roles.

• Conservative audiences: May have viewed its depiction of drag culture, sexuality and gender nonconformity as confronting or controversial.

• LGBTQ+ audiences: May have appreciated its visibility and representation, while some may have criticised its reliance on stereotypes or exaggerated characterisations.

• Mainstream audiences: May have engaged primarily with its comedy, music and spectacle, potentially becoming more sympathetic towards LGBTQ+ experiences.

Causes:

• Traditional gender expectations: Masculinity was commonly associated with toughness, heterosexuality and emotional restraint, particularly in representations of rural Australia.

• Prejudice and discrimination: LGBTQ+ individuals frequently experienced social exclusion, discrimination and negative stereotypes.

• HIV/AIDS crisis: The ongoing epidemic had contributed to stigma and discrimination against gay men, although public awareness and advocacy were increasing.

• Growing social acceptance: LGBTQ+ rights movements and increased media representation were challenging conservative attitudes.

Contemporary Audience - Generally (

Perspectives:

• Progressive audiences: May appreciate the film as a pioneering example of Australian LGBTQ+ representation and its celebration of individuality. Celebration of diversity, appreciate!

• _{^{Younger audiences: May view its representation of drag and queer identity as less confronting than audiences in 1994, due to greater cultural visibility.}}

• Critical audiences: May question stereotypical portrayals of women, Asian characters and LGBTQ+ identities - eg: Cynthia.

• LGBTQ+ audiences: May recognise its historical importance while questioning whether its representations reflect the diversity of contemporary queer experiences.

• Conservative audiences: Some may continue to challenge its representations of gender and sexuality.

Overall: Contemporary audiences may celebrate the film's historical significance while adopting a more critical perspective towards elements of its representation.

Causes:

• Greater legal recognition: Same-sex marriage was legalised in Australia in 2017, reflecting changing social and political attitudes.

• Increased representation: LGBTQ+ identities are more visible in contemporary film, television and popular culture.

• Changing gender expectations: Traditional understandings of masculinity and femininity are more frequently questioned, although discrimination persists.

• Greater cultural awareness: Contemporary audiences may be more conscious of stereotypes, representation and the importance of authentic storytelling.

SCENE: Masculinity → Bernadette Conforms Adam REJECTS

Bernadette comforting crying Adam - After Coober Pedy incident, close up of him crying, smudged make up.

“Let it toughen you up. .. Being a man one day and a woman the next isn’t the easiest thing to do.”

SCENE: Sexuality, Masculinity → Acceptance of Sydney REJECTS

• Sent off from Sydney in a flurry of cheers, applause, colourful streamers etc.

• Crow being overall more enthusiastic in this location, clapping louder, enjoying themselves more → divide between city vs country.

REPRESENTATIONS!! Within Priscilla:

• LGBTQIA+ individuals and drag performers

• Traditional Australian masculinity

• Transgender individuals

• Rural Australian communities

• Australian identity and culture

How Representations are represented:

1. LGBTQIA+ individuals and drag performers

Represented as expressive, resilient and multidimensional individuals who challenge traditional gender and sexual norms.

2. Australian masculinity

Traditional Australian men are often represented as rugged, conservative and heterosexual, contrasting with the protagonists' flamboyant self-expression.

3. Transgender individuals

Through Bernadette, transgender individuals are represented as complex, dignified and deserving of love and acceptance, challenging negative stereotypes.

4. Rural Australian communities

Represented as predominantly conservative and sometimes intolerant of individuals who challenge traditional social expectations.

5. Australian identity and culture

Represented through the contrast between the Australian outback and the colourful drag performers, challenging traditional notions of Australian identity.

Overall Genre List: