Visual Representation in 'Criminal Justice'

Visual Representation in ‘Criminal Justice’
The extract opens with the main character, Ben, walking down a narrow, dark corridor. This gives the sense that he is trapped. Ben’s paranoia is emphasised by him looking behind him, as though he feels he is being followed. At the end of the corridor, he immediately comes out into a contrastingly big, bright space. However, far from easing the paranoia, it has an even more eerie feel to it, as the light is unnaturally bright and artificial- looking, giving us the impression we’re underground. The bright light and empty space suggests Ben is on show and vulnerable to interrogation- literally under the spotlight.
The main colours used in this sequence are blues, greens and greys which are clinical and associated with institutions. It gives all the characters an unhealthy, sweaty look to their faces. The grey uniforms dehumanise them, and make them lose their identity. The clean, white uniforms of the officers however suggest higher status and authority.
The only other colour used is the orange of the plastic chairs. This creates a contrast, and suggests the idea was to make the place more cheerful, but it clearly hasn’t worked.

Cutting It.

Cutting It:
Stars Allie Henshall, a hairdresser, and her dysfunctional family, including her husband Gavin. Both have had affairs, but decided to get married to each- other again. Allie thought she was pregnant but turned out to have ovarian cancer. Just when she thought she was getting better she gets run over by car.
Extract is typical of TV drama, with cliff hangers and big story lines.

Allie’s in control of the scene, because she secretly decided to have her wedding right before her consultation. Gavin can’t do anything about it, he simply has to wait.

TV Drama slideshow

Tv Dramas

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