Film & TV Language: Editing blog task

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From the start of the scene, the mise-en-scène establishes a clear sense of conflict and disruption. Such as the corner shop combined with props such as guns and food seen around the shop, which immediately connotes criminality and danger in a casual setting. This environment reflects a familiar everyday life landscape, allowing the audience to quickly recognise the stakes of the situation. According to  Lévi-Strauss’s theory of binary oppositions, narratives are structured around opposing forces. In this scene, a clear binary is created between law and crime, order and chaos, and authority and threat. Mike and Marcus visually and narratively represent order, while the robbers embody disorder. This opposition simplifies the moral framework of the scene and ensures that the audience’s sympathies are aligned with the protagonists.

Additionally, The costume and body language further reinforce this opposition. Mike’s composed posture and controlled movements communicate confidence and authority, constructing him as the dominant figure within the scene. Marcus, by contrast, uses exaggerated gestures and expressive facial reactions, reinforcing his role as comic relief. This contrast does not undermine his authority but instead humanises the duo, making them more relatable to the audience. The use of these visual signifiers ensures that character roles are immediately seen. 

Moreover, Cinematography plays a crucial role in reinforcing power and hierarchy. The use of low angle shots are frequently used when framing Mike, visually elevating him and positioning him as superior to the criminals. This aligns with traditional representations of action heroes, encouraging the audience to admire and trust him. Medium shots are often used to frame Mike and Marcus together, reinforcing the importance of their partnership. 

Camera movement is also significant. During moments of tension, handheld camerawork is used to create a sense of instability and urgency, reflecting the chaos of the robbery. When Mike asserts control, the camera becomes more stable, visually suggesting that order is being restored. This shift subtly communicates narrative progression without the need for exposition, demonstrating how cinematography can be used as a storytelling tool.

Furthermore, Editing contributes to the pace and tone of the scene. Fast paced cuts are used during moments of confrontation, increasing adrenaline and maintaining audience engagement. This aligns with Neale’s theory that genres rely on repetition such as rapid editing is a familiar convention of action cinema. However, Neale also argues that genres must include difference to remain engaging. In this scene, difference is introduced through the deliberate slowing of editing during comedic moments. When Mike says Sir, today is not the day,” the edit lingers slightly longer, allowing the humour to land.

The use of sound further enhances the impact of the scene. Diegetic sounds such as shouting, footsteps and the handling of weapons increase realism and immerse the audience in the situation. These sounds are layered to heighten tension, particularly during moments of confrontation. The non diegetic soundtrack builds intensity, using rhythm and volume to mirror the escalation of action. Notably, when Mike delivers his line, the music drops in volume, allowing the dialogue to stand out. This ensures the line becomes memorable and reinforces Mike’s calm dominance. The controlled use of sound positions the audience to experience both excitement and reassurance simultaneously.

The scene also reinforces genre expectations as outlined by Neale. The interruption of a robbery, the display of competence by the protagonists, and the restoration of order are all familiar conventions of the action genre. However, the inclusion of humour and character-driven dialogue introduces variation, preventing the scene from feeling repetitive. This balance of repetition and difference ensures that the film satisfies audience expectations while still feeling fresh and entertaining.

Ideologically, the scene presents a positive representation of authority. The police are portrayed as charismatic, humorous and effective, encouraging the audience to align themselves with institutional power. The criminals are presented with little depth, functioning primarily as narrative obstacles. This simplification ensures a clear moral framework and avoids ambiguity, which is typical of mainstream blockbuster cinema. By resolving the conflict quickly and confidently, the scene reassures the audience that order will prevail.

In conclusion, the robbery scene in Bad Boys: Ride or Die effectively uses media language to construct meaning, reinforce genre conventions and engage the audience. Through mise-en-scène, cinematography, editing, sound and performance, the scene clearly establishes binary oppositions as described by Lévi-Strauss and follows Steve Neale’s theory of repetition and difference within genre. The line “Sir, today is not the day” acts as a defining moment, encapsulating the film’s tone and highlighting the careful balance between action and comedy. As a result, the scene successfully reaffirms the franchise’s appeal while delivering a clear, entertaining and ideologically reassuring sequence.