Focusing on the Abduction scene of Peyton Sawyer and Brooke Davis
Lighting:
- First shot of the abduction scene, when Peyton is tied to a chair with a gag in her mouth. The light is very dim and she is mostly surrounded by very dark light. There are a few beams of light oh her faces and hair, highlighting her precarious and vulnerable situation.
- Then the show changes to a close up of her face, with much more light to emphasis her emotion and physical trauma. The light is still very blurred and dim.
- The next shot of Peyton, uses spot lights behind her head which portrays just how unnatural her surroundings are. It also emphasises just how dingy and succluded the place she is being held is. The lighting behind her head, also illustrates parts of her face which look strained and weary. Also creating shadows behind her which conveys, the great lack of light.
Sound:
- As soon as Peyton gains conciousness in the first shot, she immediately makes moaning noises, which clearly shows that she is uncomfortable and in pain. When she then opens her eyes and becomes aware of just how dangerous her situation is, she begins to start making loud moaning sounds and weeping.
- The next shot of Peyton when she becomes increasingly aware of what's going on, he begins to VERY heavily breath and almost hyperventilate, conveying how terrified and helpless she feels, as she can't do anything else. She can't move or scream out for help, as she is gaged.
- When Peyton is ungaged and is talking to "Derek" her abductor, she talks very calmly and almost creepily slowly to try to convince him to let her be untied. She says, "let me finish this bitch," and stares at his provocatively, using her sexuality to get herself out of danger.
- Later when Derek is chasing Peyton round the house, when she is locked in her room. He says, "open the door," very angrily and abruptly showing just how threatening and unstable he is.
Mise en scene:
- The overall feel of the scene is very threatening and precarious as everything the two girls do, in particular Peyton is being analysed and watched by Derek the abductor.
- When Peyton gets away from him and runs upstairs he chases her and shouts, "Open the door," demonstrating just how aggressive and unhinged he is, as he has just stabbed him and he is still determined to get to her.
- Moreover when Brooke Davis comes down into the cellar and finds Peyton, Derek grabs her and says "well well, Brooke Davis," illustrating just how involved and obsessed with Peyton's life and friends he is. Brooke then tries to get him off her, and she screams " get off me," this shows how desperate and scared she is.
- The screaming and shouting between Peyton and Brooke e.g When Peyton begins to fight back to Derek and says, "Get up," this conveys, that even though she's scared she in some ways subverts our expectations by fighting back to a bigger and intimidating man.
Costume:
- Peyton is dressed in a brilliant white long, prom dress. This is ICONIC of a virgin and pure idea, suggesting that she is innocent and vulnerable. Also her dress is embellished with glitter and sequins which suggests, that despite being an older teengager, she is still very young and is quite girly.
- Brooke is dressed in a much different dress, it is Blood red and has a low cut neck line, revealing quite a lot of cleavage. This creates a much more provocative and sexually capable image of a young girl. It also portrays that she is a vibrant and bold character, as she isn't afraid to be noticed and looked at. Her hair, is straight and long, creating a grown up and mature picture of an veyr young girl.
- Derek is dressed in a very posh and expensive looking black suite, this is very simple but also formal and portrays an image of an otherwise very normal and "everyday man." Therefore implying an even more disturbing image of the man, as he is dressed for the prom which he has prevented Peyton from going to, showing exaclty how OBSESSED he is with her life and what she does. This image is in total juxtaposition to his unstable and utterly disturbed personality.
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