Gender Representation Analysis

In this scene from the first episode of the second Series of Sherlock, I will be discussing the representation of gender and distribution of power.

The scene begins with the one female character in control as proved by the midshot looking up to her slightly. The director would have chosen this shot to put us in the perspective of the male heroes, who we are meant to accept have been defeated. Another midshot, of Mycroft shrouded in darkness, generating a sense of mystery, reinforces this as he is seen attentively listening to Adler and responding. This creates juxtaposition as it is typical for men in suits to be in positions of power.

We are then offered a close up of Holmes, which is initially out of focus. This alludes to Holmes’ disinterest or confusion in relation to the whole situation. He comes into focus at the mention of the name Moriarty, a male character who he considers his equal. This implies that Holmes doesn’t respect Adler, and it is only the presence of his nemesis that draws him back in.

The Director moves Irene to sit opposite Mycroft, still higher than him. This allows a two shot where it is clear where the power is distributed as Irene is sitting much higher than Mycroft. Even when he stands, it feels reminiscent of a surrender.

This cuts to another close up of Holmes who has his eyes closed, thinking. This reinforces the idea he sees Adler as irrelevant and he isn’t paying attention to her, just the challenge she has offered.

However, when Sherlock stands (and the camera follows his movement, keeping his body in the foreground) the bold movement is the director’s way of conveying to the audience that the power is back with Sherlock.

The camera pans from Irene standing with Mycroft to just her on her own before Sherlock comes into view, telling the audience that this is where the conflict stands. A series of reverse shots come into play detailing the conversation with the camera angle pointing up to Holmes and down to Adler while Holmes details his thoughts and triumph.

Power is reinforced when the director shows a close up of Holmes placing his hand on Adler’s, a typically romantic gesture. Here it is a subtle way of conveying to the audience that Adler has lost her power and her lack of response suggests she is aware of it. As she has failed she has lost her barriers and the men feel empowered to treat her how they want.

It cuts to a flashback showing a similar shot, with the non-diegetic music creating gravitas to Holmes’ explanation of how he knows he has won. The director cuts back to a shot showing Holmes gripping Adler’s arm which would not allow her to escape or pull away indicating that she has lost all her power.

The nature of the story provides an insight to the representation of women; Adler loses because she fell in love whereas Holmes is able to solve the case as he considers himself immune to emotions. Love and sentiment is presented as a dangerous, weak thing which is encapsulated in a line of dialogue.

Confident the power is back with Holmes, he walks away. The director has Adler follow him, reinforcing that.

The power is once more shown through the exaggerated diegetic sound effect as Holmes presses the buttons on the phone, encapsulating his victory (and by extent, Adler’s loss). An extreme close up of his fingers tapping the screen alludes to Holmes’ strength and control over Adler.

This transfer of power is realised when Holmes literally asks Adler to beg for freedom. The camera pans, allowing Mycroft to stand beside her making Adler appear much smaller. Holmes is deemed worthy to earn a whole shot to himself where he stands looking away from the action, out of the window still talking. Holmes’ only line to her is “Sorry about dinner.” Which undermines Adler’s plight and focuses on a small thing, indicating that’s what all her problems are like.