Stephen- UFO MRNG Analysis

UFO yeah- Media Language, Representation, Narrative and Genre

In the opening shot we have a close up of a map, a prop, showing the Hart Mountain in the centre of a triangle- a semantic code for a Sci-Fi, due to the nature of the mountain. The mountain is Fault Block mountain curiously in a straight line, with have conspired a few extra-terrestrial conspiracy’s around the mountain.  A comedic line “God doesn’t build in straight lines!!!” is written on the map, controversially introduced by a different Sci-Fi film ‘Prometheus’, we can tell it’s a comedic line due to the three exclamation marks, as someone trying to disprove religion would often only write with correct grammar (or one would hope.) In this we have a representation of religion, the line is obviously written by someone who doesn’t believe and that’s his opinion- he’s an atheist- and this is a negative view on atheism. Through the diegetic sound of the protagonist talking we can hear that he is debating something; showing that he’s a potentially smart character. 

As the camera pans across the setting an ‘Alien abductions’ book comes into focus, at a big close up it’s easy to see this semantic code for a sci-fi film. Here we have the ‘Ordinary world’, as defined by Chris Vogler, for this character; a world filled with speculation on aliens. As a tilt-pan occurs a brief shot of a prop- an empty wrapper suggests that the character is a stereotypical American conspiracy theorist- a negative representation on that small demographic. The lighting on the desk gives more emphasis on the items scattered on it, it’s obviously disorganised but all of the pieces of paper are relevant to the film. The emphasis on each prop shows this character’s interest in extra-terrestrial life, whilst also comically insulting his disorganised behaviour and casting a negative representation on Alien enthusiasts.

We can hear the character state that there’s “growing abductions in this area”; this diegetic sound is a semantic code for sci-fi films, alien abductions being frequent in the sci-fi genre. However, it is also a semantic code relating to, what most people think are, ‘crazy American’s’ thinking they’ve been abducted. This semantic diegetic dialogue casts a negative representation on the people who believe that they’ve been abducted by aliens and Americans from the rural areas as well. In frame as the voice over continues we pan over a half-eaten chocolate bar, which again casts a negative representation by the use of the prop; a common sign of obesity with lack of care to get healthier. However, the use of the prop magnifying glass introduces a positive representation; it shows that the character is willing to look deeper than most other people when looking for clues about something: in this case Alien life.

As the camera tilts up the character himself is revealed; he’s got slicked back hair which shows he takes care in his presentation (breaking the stereotype of most geeky men), and he is wearing a smart t-shirt as well. His overcoat suggests that he is seeking adventure, as he’s currently inside his house waiting to go outside. We can tell that he is recording a podcast, a stereotypical thing for geeky people to do- we can tell from this that the character is the protagonist, as he’s not a hero yet.

When he says “That’s a wrap on that”, a rhyme (commonly associated with comedy), we can see that this is also a comedy genre.  Added on to this, he applauds his own work- and his facial expression show’s he is proud of his work. We get a positive representation of geeky people here, a social group that doesn’t often have a positive look. This is a positive representation due to the happiness he shows when he does his work; he obviously enjoys what he does, something not all of us can say. We can tell he chose his career wisely, and he’s clearly done a lot to make sure that his once hobby is now his career (as evidenced by the recording equipment prop shown on-screen.) We also feel a comedic feel in this scene, we feel happy that he is happy- but even more so due to his reactions (facial and body language) being out of the ordinary. He then says the diegetic dialogue of “Must acquire more beverage” making us feel a comedic factor, as the phrase is not an ‘ordinary’ phrase we hear.

We have a cut to a different part of the setting the camera shows a picture frame with the iconic ‘UFO Bar and Motel’ in Nevada, a place that all sci-fi fans are aware of. This semantic code reveals that this character enjoys going to places that feature Aliens, whilst also being comedic via the glowing alien head lantern next to the photo.  We can tell instantly that this character is a big fan of Alien life and the surrounding theories.

 

The non-diegetic soundtrack playing is a piano with simple composure, showing a simple routinely activity. From this we can tell that the character often makes trips to the fridge, a comedic negative representation on people of his size. The character’s head, and the iconic shape of the Yoda bobble head, are in focus- while the back setting is out of focus. This suggests that, in the characters mind, his fridge is a more important aspect of his life than his living space.

An earthquake-like situation occurs; causing the entire setting to shake uncontrollably. As the character’s head moves up, like a meerkat sensing danger, we can see his anticipation of what’s to come- a UFO’s arrival. The syntactic codes all added up to this, the sci-fi genre and the comedy all reveal that this character will likely be abducted. At this point, it’s the disruption in the film; where an ordinary life is interrupted by a new occurrence-in this case it’s the UFO. This is the character’s call to adventure.

The prop television screen goes through several different television shows- each being a bit distorted. This is used as a semantic code to signify the arrival of something that distorts reality- that being extra-terrestrial life.

As we advance in the scene we follow the character’s eye-line match to the photo we saw earlier as it begins to fall down from the shelf. By the facial expression we can tell that, what was earlier a prized ornament is now novelty compared to the character’s anticipation for the UFO arriving. We can tell how devoted this character is to Alien life by the facial expression he shows. We see this as a representation of his social group, as well as his body weight- he was clearly rushing to get out the house to see what’s happening (a positive image.) He then takes a slow pace towards the door (reflected by the slow pace in cuts after the eye-line match.) The rooms lighting then explodes in white light; causing the setting to be whitewashed completely and casting an almost angelic look upon the character. The lighting here shows that this character is a hero, and- in terms of narration- this is him crossing the threshold. 

We have a brief match- on- action as the character opens the door to the outside; giving us anticipation for what will happen. A match-on-action is usually a semantic code for action; so from this we can deduce that some form of confrontation will take place.

 

As the character walks through his garden we can truly see the make-up done on his face; it’s paler than the white light that surrounds him- giving him the stereotypical (negative) representation of a geek; someone who never leaves the house. The setting is also one reminiscent to that shown in the Roswell crash footage; giving a syntactic view of a Sci-Fi film.

A sound bridge occurs as the character says “oh my god!”, cutting from a medium close up of the character to a long shot showing the character in relation to the UFO. This is the confrontation; where a binary opposition is also met: Humans versus aliens. This binary opposition is syntactic to science fiction films; which obviously states what genre the film is- with a helpful hand from the semantic UFO. At this point, the character has reached the ‘inmost cave’ in his Hero’s journey; now he wishes to get his reward- his abduction. This is not something that is common in science fiction films; where the hero often wishes not to be abducted- in this it’s a comedy as well; turning one genre on its head.

The character’s dialogue is enthusiastic about his upcoming abduction, saying “yes! Yes!” as the stereotypical beam of light appears from the underside of the UFO. This shows a positive representation; how a person just like this character can easily be happy with what he can achieve.

As a second beam of light appears (which never happens in sci-fi films) we can tell something is going to go wrong. We can see a humours action about to happen as well, showing how the character’s feet are still on the ground while the earth around him is being ripped up.

The comedy genre only gets better by the orgasmic facial expression the character has; and the phrase “take me!” an immature sort of comedy but its comedy nevertheless.  The diegetic sound coming from the UFO gets louder as we track closer to it. We expect the UFO to give up on taking the character, leaving him without his ‘reward.’

Another comedic factor comes when the UFO starts to tilt; a sign that it’s about to crash into the ground. We can see how the narrative will end: with the UFO leaving or crashing.

The resolution occurs when the UFO crashes into the ground; causing smoke to surround the setting. The lighting reflects the new mood: dark and unsettling. We can feel a depressing vibe come from the scene; which could be his mood. It’s a negative representation; almost saying that obese people can’t achieve their dreams as the UFO has now crashed and there’s no changing it to be different.

The soundtrack is deep and melancholic; however it perks up a bit- as does the character’s facial expression: we see a positive representation here; how a ‘geek’ could make the best of a bad situation.

As a triumphant soundtrack is heard, a newspaper is thrown on screen; giving us the comedy we were after. The ‘reward’ for the character is international fame whilst, in terms of comedy, the ‘daily news daily’ gives a good comedic reaction.