UPSTAIRS DOWNSTAIRS

Consider how representations of social class are constructed in ‘Upstairs, Downstairs’ using:

·        Cinematography

·        Sound

·        Mise-en-scene

·        Editing

This clip from ‘Upstairs Downstairs’ shows people from two separate classes; the upper class, and the struggling lower class who are dismissed by society.

   The extract starts with a scene from ‘Upstairs’ in which Mr. Landry and an upper class woman are having a private and flirtatious conversation at a dinner party. Head and shoulder shots are used as they talk to each other, and a shot-reaction-shot is used to show the woman’s facial expression when he asks her to dance with him. The people around the table are shown to be rich as they have servants catering for their every need.  This is significant in terms of composition, as the camera allows the servants to walk into the shot, rather than having the main focus on the servants. This creates the impression of the servants not being very important to the scene, and adds to the representation of higher class people as being superior to lower classes.

   Long shots are also used to establish the scene, and draw emphasis to their surroundings. For example, the mise-en-scene shows a large table and fireplace. The fact that the table is furnished with numerous plates, candles, and lots of food, shows that they are upper class. The men at the table all have their hair slicked back, and their costumes (formal black suit attire, and bow ties) show that they are upper class. The low-key lighting, coupled with slow pace of the editing, creates the impression of a relaxed atmosphere, also adding to the romantic mood of the conversation between Mr. Landry and the woman. ‘Mr. Kennedy’ is portrayed as the most dominant person in this scene, and this is highlighted in the editing. Mr. Landry is blurred as he speaks about Mr. Kennedy. The use of focus pulling exaggerates the fact that Mr. Kennedy has more power.

   The sound used in this extract is mainly diegetic; as the natural sound of cutlery clinking and wine being poured into glasses can be heard. The fact that these sounds are constant throughout the scene shows how the upper classes are always well provided for, and never lack good food and drink. It also contributes to the construction of ‘social realism’ in this TV drama, suggesting that the director wants to show audiences how the upper classes truly lived. However, some non-diegetic sound is also used. At the end of this scene, soft and classical sounding music is played in the background. This is used in the transition between ‘upstairs’ and ‘downstairs’ and highlights the contrast between the two social classes. A mid-shot of the two butlers is used at the end, and shows them looking at each other in the light of the conversation at the dinner table. This suggests that the working-class are nosy, and gossip about the upper-class, even though they are unaware of this.

   The mise-en-scene used during the ‘Downstairs’ scene contrasted hugely with the previous scene. It was apparent that the people downstairs were merely servants, as the women were wearing cook’s outfits, and props such as the brooms that stood in the corner was evidence of the domestic duties they had to perform. Other outfits, such as the Head Butler’s, and ‘Johnny’ made them appear upper class, however there were subtle hints that they did not fully belong upstairs. Firstly, Johnny’s accent wasn’t like the gentry upstairs, but rather sounded much more common. In addition, the butlers’ ties were white, and didn’t match the black formal ties used ‘upstairs.’ Other props, such as the large table in the middle of the room, showed that they were lower class, as it wasn’t furnished or even covered with a cloth as it was ‘Upstairs.’ The editing used when the scene moved ‘Downstairs’ was much faster, with the transitions between the characters very quick to accompany the panicked and fast way in which the servants were speaking. Jumpcuts from character to character increased in pace, adding contrast to the relaxed atmosphere of ‘Upstairs’ and showing how different their lifestyles are.

    The contrast between the two classes was further emphasised when one of the upper class men came down the stairs. As he did so, he stood upright, and a light shone behind his head, portraying him as the more powerful and dominant character.  The diegetic sound of his footsteps as he entered the room could be heard, and this accompanied with the shot-reaction-shots between him and the cook, made his entrance seem much more menacing, as the cook look scared and completely shocked to see him standing in front of her. The camera shows low-angle shots which watch the characters through the dirty and chipped windows. These create the impression that the audience is intruding on the lower classes ‘private’ life, and also reflects what is going on in the scene, (e.g. the upper class man is intruding on the lower classes daily routine.) This is very different to the earlier scene upstairs, where the audience was positioned in a way to make them feel almost as if they were included in the conversation themselves.

  The audience is shown a ‘two shot’ of the characters as they start their conversation. This is significant as this scene shows them as they start to bond, despite being of two separate classes, which challenges the stereotypes about social class. The classical music played in the background also lifts slightly, with a harp playing in a much calmer and more serene way, to mark their new ‘friendship.’

   At the end of the extract, the cook yells at the butler’s even though she has a lower social standing than them. The Butler’s superiority is shown in the editing, where there is a two-shot of himself and the other butler, yet there is a focus pull onto the main butler, blurring Johnny out. This draws emphasis to the main butler and shows him as superior. A close-up of his face is shown when he is shocked to find that the American Ambassador’s son has been called ‘dear’ by the cook, creating the impression that people of different social classes shouldn’t communicate.