Media Studies Week 1: Sherlock Holmes

 Media Studies Week 1

Sherlock Holmes

03 February 2021

This particular scene delves into the four technical elements of representation: Camera, editing, sound, and mise-en-scene. Each element has been incorporated carefully to create an effect on how each aspect affects both the protagonist and antagonist.

This scene focuses on one of the main core representation which is class and status. Elements of mise-en-scene, for example clothing, provides us with evidence that both Sherlock Holmes and Professor John Moriarty are part of the wealthy, upper-class section of society as they are both seen wearing professional suits with ties. This, however, reveals that Holmes’ stalwart partner, Watson, is not considered to be on the same social tier as he is seen wearing more casual, yet still formal, clothing.

The work of the cameras has been used creatively to further accentuate this idea. In one scene, Moriarty, the powerful arch-nemesis, is obstructed from view while he continues his speech. The medium close up as he comes into view, paired with the lighting that casts shadows across half of his face, creates this idea of a cunning and criminal genius stemming from his position of power, and as the scene unfolds, the audience gets a sense that his cunning intellect is his most dangerous trait, and that the odds are more likely in his favour than they are Holmes’.

The use of non-diegetic sound has been used effectively in creating a suspenseful, on-edge atmosphere. Diegetic sound is any sound that does not originate from within the film's world. It is merely there for the purpose of adding to the overall theme of the scene as it unfolds, and serves its purpose in reaching its climax as the audience waits with bated breath as to what will happen next. As the camera, yet another technical element used, cuts to and from Holmes to Moriarty, a steady pounding, slowly increasing in speed, has been used to create tension between these two characters, and as the camera’s focus moves from Sherlock’s face, extending to his outstretched arm holding the gun and then focusing on his primary target -the bomb- it reaches its climax before the intense atmosphere is broken with a phone call, and both the character’s and the audience’s attention is diverted.

The ringing of the phone, an example of diegetic sound, is ironically to the tune of ‘Staying Alive’ by the Bee Gees, and provides a small moment of reprieve and a trace of humour in such a tense situation. Diegetic sound is any sound that emanates from the story-world of the film. Here, all three characters are able to hear it, and it is almost an anti-climactic moment as the scene was just reaching the peak suspense and up until then, the audience is faced with uncertainty about what is to come. It is also a somewhat ironic moment as, like the title of the song, the lyrics are ‘staying alive’ and the three of them appear to be facing the image of death itself as a gun is pointed to Moriarty’s head, the several lasers on Sherlock’s shirt, indicating any unwarranted move will result in his own injury, be it fatal or not, and the bomb discarded out of frame. This alludes to the theme of dark versus light in terms of the mood and atmosphere.

The location -which is mise-en-scene- is set in a swimming building. The use of this is to create a distant and eerie feeling as each noise and piece of dialogue echoes off the walls. The effect of this is that it makes the characters, specifically Moriarty, appear more threatening and menacing.

The scene uses iconography to further emphasize that this television drama is a thriller, and us as the audience can come to this realisation by the use of the gun, bomb, and lasers pointing at Sherlock’s chest.

Editing plays an important role in this scene. As one of the four elements of representation, the transitioning between shots provides the scene with continuity and non-continuity systems. At times, where continuity editing is used, it creates an illusion of smooth, continuous action in order to help keep the audience's attention. Moments of non-continuity, where the shots are mismatched to disrupt the impression of time and space, can be seen when Sherlock Holmes first walks into the building and it speeds up his arrival before continuing to its original speed. Another example, is during the shot/reverse shot cutting and fade to black to show the passage of time.

As an extension of Moriarty's threatening character as a product of the camera shots and angles, Moriarty is displayed in such a way that shows his inner character and the effect he has on the people around him. Throughout the duration of the scene, Moriarty is constantly standing whereas Watson is sitting down for the majority of this scene. In addition to this, many of the shots of him are close-ups and he is seen to be constantly looking up, compared to Moriarty who is seen with wide shots and looking down on him and Sherlock. This can be seen as a display of Watson’s slightly lower status and he appears to be vulnerable and weakened, a stark contrast to Moriarty whose higher position, both figuratively and literally, intensifies his Machiavellian persona.