Telvision Criticism - Univ. of Iowa

Shot # Video
1 Open to large shot of Blue Sky (Soundtrack/Credits Start)
2 Crow Flies Through
3 Blue Sky
4 Tilt down to tree on top of hill; clearing
5 Cut to LS of two white hands with black sleeves joined together and then they pull away from each other
6 Fade to black
7 Left side cut white hands with black backdrop washing themselves up and down
8 Fade to black
9 Low angle of gurney (black shadow)
10 Tilt up to pale white feet with DOA tag and white sheet covering rest of body on the gurney
11 Fade out from feet to cloudy blue sky
12 Panning sky left to right
13 Quick cut to gurney wheel turning and moving forward
14 Black gurney wheel moving forward on white floor
15 Low left angle shot of gurney
16 Man standing in the distance surrounded by bright light
17 Gurney continues to head toward the camera while man fades in the distance
18 Jump to front shot of pale white feet and bright light
19 Jump to low angle shot of glass cylinder and with opaque shot of man in white coat
20 Man picks something up from other side of the cylinder (Hard to tell what he is picking up)
21 Then man turns around from other side of the cylinder and appears to go to work over by a counter
22 Jump to far right shot of liquid (probably draining from a cylinder
23 Upward pan of draining cylinder
24 jump to closup side head shot of white female corpse
25 CU corpse's eye with cotton ball attached to tweezers
26 CU cotton ball is brushed over eyelid
27 overhead shot of female corpse
28 cut to CU of White Lilies
29 Time Lapse through Lilies wilting
30 Lilies wilt and die
31 Fade to black
32 Low angle shot of coffin in the back of hearse
33 white man in black suit opening door of hearse
34 Light slowly enters back of hearse and reflects off of coffin
35 Side shot of white hands lifting coffin out of hearse
36 Close shot of aged headstone with cloudy skies in the distance
37 Back shot of empty hearse with open trunk and the sun reflecting off it
38 Jump to low shot of black and white pictures on wood table
39 jump to low angle shot of crow walking on rock
40 Jump to mid-level shot of two men carrying away a wood casket
41 As they walk away headstone is revealed in the distance
42 Then headstone is shown in wide shot amongst the rest of the cemetary
43 Jump to shot of crows head
44 Pan shot right to left of clouds in the sky
45 Down angle shot revealing flying crow and tree on top of hill in the distance in the distance
46 Shot pans down to focus on tree and then stops
47 Screen color switches to black and white
48 Six Feet Under appears underneath tree
49 Screen fades to white
50 Color of tree changes to light brown
51 Credits roll
52 Color of tree changes to black
53 Screen fades to white


Six Feet Under
As Six Feet Under begins, there is a kind of stall in time, yet the intro is moving at a regimented pace with complete segments. An important point to note really is the nature of how it is launched and the potential connectedness within a greater narrative the introduction offers. One then has to call into question what was behind the creation of such an intricate narrative within the introduction and whether the creator, Alan Ball, meant for the audience to carefully read into it. Detailed introductions that present segments provide the potential to hold the audience consistently. An introduction to a classic sitcom may be ignored after the 3rd or 4th viewing due to its simplistic nature. While a more detailed introduction may hold the attention of the audience for a longer period of time. It also holds a certain nostalgic sensibility about it.
The intro to Six Feet Under then serves as a launching point to the mysterious world of death. As the viewer you are taken on a journey through the process involved from the time of death, the soul leaving the body, to being taken away to the mortuary, then embalmment, the funeral, and the burial that falls in line with the title. This sequence of events plays out as if you are right there while it is happening. There are also other symbolic elements that align themselves with death such as crows, bright lights, dying flowers, and old pictures. The intrigue brought in by the background instrumentals supplies the viewer with curiosity about the content of the show, but also a foundational narrative.
The intro is then broken down into 20 individual sequences. It starts out with a wide angle shot of the blue sky. A crow flies through the sky and the music starts and then back to the blue sky. The first segment is foreshadowing the story with the crow serving as a symbolic representation of death. Much like how a stork symbolizes life. After the crow, disappears you are then left to wonder what’s next and is death right around the corner? This leads into the next short segment featuring a tree on top of a hill in a wide open area.
As the credits continue to roll, two white hands appear on the left side of the screen against a black backdrop. The hands appear to be engaged in a cleansing or washing process. This is symbolic in terms of death and also biblically. The two hands being washed may be in direct connection to Pontius Pilot and the death of Jesus Christ. It can also be looked at as sort of a cleaning process, maybe cleaning one’s soul. Another connection could be to a doctor or the person at the mortuary who is doing the embalming. It seems to have more to do with a person dying than anything else giving the following sequences.
As the hands disappear and the screen goes back suspense starts to set in, the music continues to play, and upon initial viewing you do not know what is going to happen next. As a black shadow appears out of a low angle shot, the viewer then realizes that there are wheels and then the camera tilts up. It is revealed that you are following a gurney of some sort that is moving at a steady pace. The camera then tilts all the way up showing that it’s a gurney with a shot of two pale white dead feet. The left foot has a blank DOA tag attached to it. This all fits within the conventions of death that most people have become accustomed to. The rest of the body is covered with a white sheet and since it’s a close-up of the feet, as the viewer, the rest is left to interpretation.
Then it cuts right away back to the blue sky. The camera continues to pan the sky from left to right. This may/may not be significant of the person’s soul leaving their body and going up to the sky.
Then cut back to the gurney as the wheel turns and it commences to move forward. And the wheels of the gurney appear in a low left shot of the screen. There is a man in the distance surrounded by white light and a gradually he becomes further and further away. The highlights the journey of the soul from the body to the distant bright light, of which, there has never really been a concrete explanation. It’s more of a presumption that this is how it would happen. Thus, why the man appears blurry and not distinguishable.
As the man fades into the distance, there is a jump to an overhead shot of the white feet with a bright light surrounding them as the gurney continues to travel down the hallway. This signifies a transformation and completion of the soul exciting the body.
Next, there is a cut to a low angle shot of a glass cylinder. There is then a man wearing a white apron who appears to have blue jeans on underneath and he comes from behind the cylinder to pick something up and then walks away. This is all done through an opaque shot through the cylinder which does not reveal anything about the man or what is taking place. It is presumed that the setting has changed to a morgue and the dead white person is now being embalmed by the man in the white apron. The cylinder serves to highlight the scientific process that is now taking place.
The next sequence cuts to a shot of liquid draining from what appears to be a glass container of some sort. The liquid continues to drain with various angles of it being shot. This is relevant of the embalming process and the insertion of formaldehyde that takes place during this process. The genius of this is that nothing happening is completely overt. Each reference is subtle of what the alleged process that goes down surrounding death and basically the dead body is the reappearing focal point in all this.
The next segment features a close-up of a headshot of a pale dead white female corpse. She has blonde hair and is probably in her 20’s. This leads to a close-up of the woman’s eye with a cotton ball attached to tweezers, but you cannot make out who or what the tweezers are attached to as the cotton ball is moved across the eyelid of the dead woman that leads into an overhead shot of the female corpse. The shot then shows the woman now in a dress with one hand folded over the other.
What is more telling is the very nature of how this is all laid out as natural and potentially how most people have allegedly pictured the process of embalming unfolding. All the cues throughout each sequence have been subsequently nonverbal, yet revealing in that they appeal to socially held norms toward death and dying. Further, cultural implications are shed light upon in that this whole process is prompted as being normal and expectedly routine and mundane. What brings the viewer in really is then the intrigue as to what else this world of death really has in store.
The shot is then cut to what appears to area close-up of White Lilies in the corner of a funeral home. The flowers start out as white flowers in full bloom. Then the time-lapse starts as the flowers commence in dying. Since flowers are a staple element of a funeral, particularly white flowers and the theme of the show centers around death the flowers indicate their temporal symbolic presence. Then the screen fades to black that also is an indication of death.
Then there is a jump to a low angle shot of a coffin in the back of a hearse. Then a white man in a black suit opens the hearse door. Light enters the hearse and reflects off the coffin. Then there is a shot of white hands lifting the coffin out of the hearse. This is all continually symbolic of the process surrounding death and all the events that unfold after someone dies in connection with both their physical and spiritual bodies. This sequence involves shots of the hearse and in and the removal of the coffin combined with a preview of the headstone. The visual imagery continues to map out the story of death that is unfolding throughout the narrative of the introduction.
The next segment features a jump to black and white pictures on a wood table allegedly back in the funeral home. These pictures are familiar in that they highlight the common practice of showcasing photos of the deceased at funerals. The cultural significance of this practice is then shown as a normalized reverence for the dead, much like the shot of the white lilies.
Segment #40 starts with a shot of two white men carrying a wooden coffin and then shot of the headstone followed by a wider shot of the cemetery. This is showing that the woman has been placed in her final resting place and also an indication that the narrative may be done since the day’s job in handling the deceased is coming to an end. This also illustrates the near completion of the narrative of the introduction, but nothing has been revealed yet about the characters in the show, aside from the fact that the main set is a funeral home.
The next sequence goes back to a shot of a crow’s head and then the sky is panned followed by a shot of the crow flying. Since the woman has just been buried the crow senses death and is reacting to it.
The shot pans back to the tree that then fades into black and white with the title, Six Feet Under, featured beneath the tree. The screen fades, then the tree changes to light brown, credits roll, tree changes to black and screen fades to white. The tree represents dead bodies becoming part of the earth and contributing to new sustainable life through decomposition. This is all significant of the decaying process that is then taken on by the tree. Thus, the only things that live throughout the introduction are the anonymous institutionalized workers and the crow. Everything is still then symbolic of death.
Thus, the introduction to Six Feet Under is priming the audience to think about all their cues relating to death by bringing in all the visual elements commonly related to the process that unfolds after someone’s died. The introduction as a complete narrative takes you through the process of death in the eyes of the dead woman where as the viewer you experience everything she does. This all unfolds visually offering clear aesthetic references to the process surrounding death.
A key part of this analysis also appears in the reinforcement of continual “whiteness” throughout the narrative. The workers are all white men and the corpse is a white female. Death is typically represented through the colors white and black which are evident. Yet this is also problematic due to the nature of the show focusing on predominantly white characters except for a couple minorities that appear in the whole series. Further the introduction is not only foreshadowing death but also the dominance of “whiteness.”
Masculinity norms are being reinforced by depicting a female corpse and male workers. Therefore, men throughout the narrative represent a dominant role over the female. This is present as the viewer is introduced to the corpse until the burial at the end of the introduction. What is even more telling is the fact that there is a man surrounded by light in the distance upon the death of the woman.

Labels: SixFeetUnder Death

1. Shot of downtown Manhattan

2. 3 more shots of various parts of the city, including one that frames a less wealthy part of the city against downtown

3. Crowd of people

4. Graffiti on a wall

5. Hand holding a designer bag

6. Grocer posing for camera

7. American flag painted on closed shop front (with graffiti)

8. Kid skateboarding against the backdrop of public housing

9. 2 Cityscapes (one of commercial buildings, one with industrial plant in background)

10. birds flying above low rise buildings

11. Young man standing outside closed grocery with dog

12. Young woman in sunglasses

13. “NY” diamond earring in ear

14. young adolescent breakdancing in subway for money

15. cityscapes

16. man wearing board advertising pawn shop

17. pawn shop front

18. close up of the eagle on the American dollar

19. man hiding face with Asian newspaper

20. man offering up black market designer bags

21. hands handling money

22. woman pulling money out of wallet

23. gold watches

24. Chain with a gold dollar sign

25. man on cell phone in business suit

26. bike chained to pole, missing back tire

27. menu board for restaurant

28. close up of the hot dog picture from the same menu board

29. woman with lots of shopping bags

30. woman blowing bubble

31. mannequins in store

32. young woman posing during photo shoot on street

33. man with gold tooth and lots of gold accessories against backdrop of public housing

34. Hasidic Jew against backdrop of graffiti

35. Cityscape of Manhattan

36. Manhole

37. Subway sign

38. Logo from yellow cab

39. Cabdriver yelling out window

40. Graffiti

41. Shoes hanging on power line

42. Multiple shots of graffiti

43. Young male smiling behind fence

44. Two men playing basketball

45. Person running down street with cab behind them

46. Downtown buildings

47. Same shot of buildings but at night

48. Woman in party dress that says “NWA” (face not visible)

49. Face of woman in lipstick (eyes not visible)

50. Young man standing against backdrop of American flag painted on wall

51. Purse and fur coat

52. Man screaming

53. Woman screaming

54. Woman in fur coat holding purse (face not visible)

55. Hand holding cigarette (face not visible)

56. Two men posing for a picture

57. Street corner

58. Downtown cityscape at night

59. Leg of a woman stepping out of the back of an SUV

60. Man with face turned away from camera with sunglasses on the back of his head

61. Woman posing for party picture

62. Woman with hair covering her face with sunglasses over her hair

63. Street corner

64. Women at a party/club

65. Man and woman dancing (faces not visible)

66. Man and Woman posing for a picture

67. Street corner

68. Two women kissing

69. Balloon with headphones on

70. Man and women kissing

71. Restaurant worker cutting head off roasted duck

72. Restaurant worker posing for camera

73. Two hands holding a hamburger

74. Paper plate with “thanks” spelled out in mustard

75. Plate with a few fries on it

76. Hand on a wine bottle

77. Man and woman on couch (faces not visible)

78. Woman DJing

79. Street corner

80. Man kissing woman on cheek

81. Street corner at dawn

82. Same city scape from beginning

The introduction follows a day in New York City. The first shot is of the city shortly after dawn (1). Following that is a mix of things happening during the “work” day: a kid breakdancing for money (14), people selling black market goods (20), people purchasing black market goods (21), vague shots of money being handled (21-22), people holding signs for businesses (16), a man in a suit on the phone (25), a stylish woman with both arms holding multiple bags (29). This segment ends with a shot of a downtown high-rise in the afternoon (46). It immediately switches to the same exact building, but at night (47). From then on, the images of work and buying are replaced with images of nightlife: young, stylish people partying, taking pictures, and kissing (48-57, 59-62, 64-66, 68-72, 76-78, 80). Intermixed in all of these images are images of random street corners across New York (57, 63, 67, 79). In stark contrast to the daytime scenes, money is completely removed from these images. The focus of the intro becomes the gratifying and meaningful social experiences of the city youth as the city transforms from a place of work and consumption into a playground. Interestingly enough, the only one who seems to be working during all of this is an Asian food worker who we see cutting off the head of a roasted duck. Finally, the nighttime images transition to a calm traffic light set against the dawn sky before cutting to the same early morning image of the city that was used in the very first shot.

How to Make it in America is ostensibly about a couple of eager go-getters out to climb out of the levels of low-wealth (which, throughout the show, is primarily indicated by a lack of respect among more-successful peers rather than any particular financial hardship) and into the world of success by producing their own clothing line. Yet, from the title credits, it’s clear that the intro to HTMIIA is telling a story about “New York.” The first 4 shots are all cityscapes, which are followed by a rapid progression of shots that seem to hit on every cultural touchstone of New York: graffiti (4, 7, 34, 40, 42), subways and cabs (37-39, 45), ethnic and religious diversity (6, 19, 34, 39), hot dogs and knishes (27-28), breakdancing (14), crowds of pedestrians (3), faux designer goods (20), pawn shops (16-17), luxury fashion (29, 31-32), hip parties (47-78), etc. Further, none of the actors are actually shown in the opening. Instead, their names are overlaid onto shots of the “real people” of New York, suggesting that the show is less about the stars or the one-of-a-kind characters they play and more about the common person that make up and create the actual city. The discrepancy between the actor’s name and the person next to it lets us know that this story is universal, and the characters could be anyone in New York.

The New York presented in the introduction is a unified, harmonious environment. Notably absent from any of the images presented: Crime, horrid living conditions, homelessness, people in dilapidated clothing and poor physical condition. Images of the downtown cityscape and high fashion retail shopping are fluidly intercut with images of graffitied walls, closed storefronts, services workers, and black market dealings. The fact that all these images take place in a presentation of a “day in New York City” argue for a conception of New York as a singular space and culture where income gaps do not equal social and cultural gaps. New York becomes an inclusive amalgamation of all manners of living that operates through the passing of money and positive social gatherings. There is no “other half" or separation of socioeconomic classes in this New York.

One City

This is especially prevalent in the day/night dichotomy of the opening, which valorizes the city and the economic system that created it as an inclusive site that provides enjoyment to all regardless of socioeconomic status. The day is presented as the time when money is made and spent; the night as when life is "lived" and memories are made. Thankfully, the introduction lets us know that no one works at night (except for the Asian grill worker, and even he gets a “heartfelt” thank you in the form of mustard, which joins him in on the fun). Everyone gets to be a participant in the spoils of the capitalist system and the culture it supports. This series of scenes reinforces the “work hard, play hard” mentality that underlies and reinforces the valorized myth of the lower socioeconomic classes that is central to HTMIIA. To maintain this myth, the intro must strategically ignore the concept of money that was so prevalent in the daytime scenes, even though it is just as important in “play” as it is in “work.” Trendy fashion costs money, cabs cost money, subways cost money, food costs money, entrances to clubs cost money, drinks at clubs cost A LOT of money. The experiences depicted by the intro are presented as if they are earned by hard work and determination alone, not bought and paid for by the same money that needs to go to rent, food, and clothing.

Further, not only do the lower socioeconomic classes operate in the same sphere as everyone else, the culture of low-wealth citizens is presented as an essential component in the greatness of New York, America, and the individuals themselves. Here, non-wealth creates motivation and desire, which produces creativity (graffiti, breakdancing, fashion) and entrepreneurship (performing for money, street vending). Poverty is not so much an entrenched part of the American composition, borne out of systemic structures and calcified into the American landscape and reinforced by political, economic, and social structures, but as a personal obstacle easily overcome by those willing to put the work in. Success is presented as available to all who do so and keep the proper attitude (all our subjects are smiling, after all). HTMIIA presents the common refrain that material wealth is the direct result of applied effort + positive emotional perspective. The American dream is thus the center of the show, and New York becomes the personification of that. It is no coincidence that the last show shows the Manhattan cityscape, one of the richest places in the world, with the words “Make America” superimposed over it. Additional words are then added to create the title, “How to Make it in America.” Thus New York itself becomes a mere symbolic compounding of all the actions undertaken in the name of “making it,” or fulfilling the American dream.