The first editing shot used that is obvious to the audience is the reverse shot which is used quite quickly and equally between each character. This is used to show a heated and intermit conversation going on between a male (Sam) and female (Maya). The audience can tell that the two characters are more than colleagues, as the editing shot is clearly trying to show emotion from both characters. Maya is standing behind Sam, contradicting the equal use of camera time on both characters, showing that she clearly has lower statues than Sam, who is the male protagonist in this episode. Sam is showing obviously that he is more interested in the case rather than talking to Maya about a personal issue. This shows that Sam is the dominant figure in their relationship even though she is working aside him in the case. The use of close up shots shows how Maya reacted to his dismissal of not wanting to talk about personal issue, which suggest that Sam is a stereotypical male who does not talk about his emotions and can be closed up. Eye-line shot is also used in this scene to show the audience what Sam was analysing on his computer empathising Sam’s higher statues in the episode. Furthermore, he is the character who is sitting down and analysing the case, showing that he has more power over Maya. His power is proven when he takes Maya off the case. He does not ask her nicely to leave the case but demands her putting his personal relationship with her aside. Maya begins to object to his decision but as he has greater power over her she is helpless and leaves, while he returns to his computer.
The next editing technique used is an ellipsis to quickly cut to the next significant scene, in which Sam immediately answers the phone to Maya. The ellipsis has been used to show the audience that time has passed from the previous scene. The camera is focusing on Sam and not Maya empathising his power and position. Maya tells Sam where she is and what she is doing disregarding Sam earlier. As the scene progress a long take is used showing the significant of the scene. Later on in the conversation Maya seems to be in trouble. She is kidnapped and murdered. This is where Todorov’s theory is used, as the Equilibrium is changed to Disequilibrium. The director or playwright has chosen for Maya to be one main feature of the episode for the audience to find it interesting.
A cutaway is used to show Sam arriving at the scene in his car, where Maya was taken from. He walks slowly to the crime scene and walks straight passed the other officers, once again showing his higher statues and authority. As he continues to walk the camera pans out and uses a medium shot to focus on his body language as he walks towards Maya’s bloody shirt. The audience can see that his body language shows how vulnerable in this situation. He is also staying calm and acting professional instead of freaking out. As he stares at Maya’s shirt, a colleague approaches him. His tone is calm and shows no emotion, keeping his personal life aside and focusing on being professional.
A significant shot is shown to show Sam trapped by the swing through both chains beside him. This may indicate foreshadowing to the audience, as he will not be able to keep the façade up and will show that he will become weaker; which is evident in the later scenes.
As Sam walks away from the scene a high-angle shot is used to show the audience the view of the children’s park. A children’s park has the connation of a safe and loving place, however this is ironic as there is a dangerous crime scene taking place there, which places the children’s park as an unsafe place. The high angle shot also puts the authority in a more powerless and defenceless position as the audience is watching them and it could be the killer’s viewpoint.
A cutaway is used again to show Sam in his car driving away from the crime scene. The audience can only see Sam from his car through the car window, suggesting that the window is a barrier used so the audience do not see the condition and emotion from Sam. However, when the camera then moves into the car we begin to see the surface of how he is feeling. He begins to let his guard down and show that emotion. An over-the-shoulder shot is used so the audience can see into the car mirror, indicating that he is finally letting the audience in. It then goes to a close-up of Sam’s face showing him crying and the pain from the murder of his girlfriend. We then get the camera showing Sam from outside of the car suggesting that he does not want to let the audience back in.
The non-digetic music used creates suspension and tension, as the audience want to know what will happen next.
Suddenly a car overtakes Sam and he is brought back into reality by the digetic sound of the car horn. He immediately stops and a jump cut is used as he gets out of the car to allow himself to calm down. He exhales a couple of time so that he can back to his normal state instead of the “mess” he is in and re-gain his power back. A high-angle shot is used again to show that Sam is alone and away from civilisation. The digetic music playing allows Sam to become back to his old self, however, as the music gets increasingly louder it foreshadows Sam being run over.
As Sam gets run over it is fast paced showing the severity of the accident and how fatal it was. The camera angle then goes back to a high-angle, which is a significant view point, as the busy roads before now have a massive gap where there is no cars and it is empty, suggesting that Sam is now alone and has no-one by his side. The camera then turns upside down indicating that is how Sam life has taken a turn for and that all his power and position has been stripped away from him. We then get close-up shots of Sam’s face as the audience can see how helpless Sam has become. Furthermore, the audience can hear than an ambulance is coming for Sam, indicating that help is coming and that Sam does not always uphold the powerful position.
The scene then cuts to a dreamy-like scene where it is in slow motion and quite blurry showing the audience that Sam is in the same state. Bright lights are used, which could suggest that there is a new beginning or story, which will lead on.
Finally, digetic sound is used as Sam is trying to be brought back from the dreamy state he is in.
In conclusion, the protagonist Sam is perceived as a powerful man who has authority over all of the characters in the clip. The editing used emphasise the importance and dominative character of Sam in ‘Life On Mars’.
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