Framing
- Dominant narrative positioning – in the car with her as she crosses the Bridge.
- Right-hand framing is dominant and classically “masculine.”
Costume and mise-en-scène
- Wearing khaki and greys – costumed in “tough” leather, boots, military-style coat - connotations of masculinity. No make-up.
- Scar – conventionally masculine and connotes violence.
Performance
- Saga as active protagonist – moves all the time. ‘Masculine’ stance and walk.
- Her famous ‘stare’ and lack of humour.
- Vocal delivery is clipped and precise and she uses words only when required– strong, silent type.
Technical codes
- Profile shots and shots from behind imply mystery and something hidden (lacks the openness of traditional ‘feminine’ representations.
- Closed frames – often behind glass connote isolation/entrapment of main character. Barrier created visually between them and others.
- Strength is emphasised by low angled shots.
- High contrast lighting creates shadows and suggests hidden darkness.
Are there other elements of her representation in the rest of the text which are not “feminine”?
- Attitude (and intra-diegetic gaze) of others to her – e.g. Hanne, Lillian.
- Lacks empathy (picture and Helle Anker’s wife) Saga’s inability to empathise and communicate emotionally is more traditionally “masculine” as a trait.
- Eating microwave meals – not domestic
- Matter-of fact attitude to sex and nudity (e.g.whips off her T-shirt in the office).
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