In this clip from the TV Drama, Monarch of the Glen, we are presented with two oppositional worlds, divided

by age. The youth is represented through the character of Amy, and in my opinion, the older generation is most clearly defined through the character of the head teacher, and also the remaining members of the community. The mediator throughout the clip seems to be Paul who acts as a bridge between the age divide. The characters fit the typical stereotypes in order to enhance the theory of binary opposites throughout the clip. Mise-en-scene is the first area in which representational issues are presented. In the first scene, the audience is introduced to the rural setting shown through the natural lighting and bland colours, which makes it seem an unnatural setting to represent youth. This is further emphasised when the audience is introduced to Amy, who enters the scene wearing a bright yellow top and fashionable jeans, making her seem very out-of-place. Previous to Amys entrance, we had seen the other characters dressed in traditional farmers clothing such as Barber jackets and Wellington boots. It is through this binary opposition that the audience is meant to empathise with Amy as she stands out from the rest of them. When Amy first starts to speak, her body language suggests that she feels uncomfortable as she looks quite stiff and nervous. Mise-en-scene, combined with the use of camera shots further drives the narrative when we see Amy inside the traditional farming vehicle the Land Rover. The fact that it is such a large car subverts the usual notions of a teenager driving a small car that they can handle and seems to make Amy look like she is even more out of her comfort zone. This is further emphasised by the close up of her face which shows her looking confused at whether the clutch or accelerator comes first (something all drivers should automatically know). The close up allows audiences to see her uncertainty which suggests that she had been lying when telling Paul that she could drive. The fact that Amy lies about her ability to drive signifies how she wants to be treated like an adult, rather than a child. This also foreshadows her lying about her age, which the audience soon finds out in the next scene. In the next scene, following the car accident, the audience learn about Amys true age. It is interesting to note her body language in this scene as upon noting her headmaster, Amy is seen in the clutches of other characters. She almost appears to get younger and more vulnerable before the audiences eyes due to her state of insecurity and the need to hug those she loves. It is here that the audience first see her as a stereotypical child who needs to seek solace and saving from the responsibilities of adulthood. The positioning of the characters of Amy and the headmaster in this scene further emphasises the division between the ages and puts up a metaphorical wall between both generations. The audience find themselves transported to a very different setting in the next scene. Paul (who seems to act as Amys guardian) and Amys headmaster (Mr Green) are in an oak room which depicts the formality of the scene and exaggerates the absence of youth. The formality of the room is reminiscent of a court room which conforms to the representation that with age comes wisdom. The traditional and formal theme is also represented through the use of the prop brandy, which is thought of as a mature, wise mans drink. Furthermore, Mr Greens appearance (a brown suit accompanied by grey hair and beard) along with his formal tone and give him an overall aged and educated look. This clearly juxtaposes everything we have previously seen with Amys insecurity, vulnerability and naivety of youth.

During an argument between Paul and Amy in the next scene, the camera constantly cuts from a high angle shot of Amy (making her look weak and vulnerable) to a low angle shot of Paul, portraying him to have authority over her. The quick cuts make the pace of the scene faster, which adds to the tension. Amy mentions how her father does not care about her and never has time for her. This feeling of neglect evokes sympathy from the audience as it reminds them of her innocence and that she just wants attention from her parents, just like any child. Furthermore, the inability to resolve the situation (as Amy storms off and Paul goes back to working on the farm) juxtaposes the mature conversation in the previous scene with the two adults, whereby progress was clearly made. Amy is told to pack her bags and we hear her give the stereotypical response of an angry youth: I hate you digetically delivered by her before she runs out of the shot. We then see Amy in a room which finally demonstrates a sense of vivid colour. It is no coincidence, therefore that this is a location that Amy seems most comfortable in and holds closest to her heart. The use of props such as decorative cards, pyjamas and the teddy bear hint at the innocence of youth. Amy displays a tremendous amount of passion towards those she loves, which is refreshing to see in an age fuelled by negative representation of youth culture. The innocence and vulnerability we saw in Amy after the accident is further highlighted through visual codes such as the way she appears to hide her hands under her sleeves and through the use of props such as family photographs. The non-digetic music we hear during this sequence conveys a sympathetic tone and foreshadows the event of her leaving. This is a complete opposite of the non-digetic ambulance soundtrack to the workers that is traditional and a generic track associated with their rural environment. During that scene, the camera pans from the side of Amy to her reflection in the mirror. This could represent age by suggesting that she needs to take a look in the mirror and figure out who she really is and the person she wants to become. This signifies a sense of maturity, which is rare to find in a young, naive girl. In the next scene, the camera tilts up from the outside of Amys bedroom window, looking into her room. This is possibly suggesting that Amy (like most teenagers) feels like an outsider and as if she is not accepted by anyone. She is on the outside, looking in to a happy family that she hopes to be a part of. While the older woman is in the room, surprised by Amys sudden exit, we do not sympathise with her, however our attention is drawn to Pauls reaction when she tells him that Amy has left as we can see his emotions towards the situation through the zoom into a close up. The use of editing to provide the Narrative structure of the piece is motivated by Amy our initial misunderstanding of why she looks so uncomfortable, provided by several scenes encouraging us to further understand her emotional state, represent her as a vulnerable and stereotypical naive character.