Articles
Sherlock
- Written by Hugh Mason-Jones
Based on the story and characters created by Arthur Conan Doyle, this three episode series sees Sherlock Holmes reimagined into modern day London through the writing of Steven Moffat (Doctor Who, Coupling, Jekyll, Press Gang) and Mark Gatiss (League of Gentlemen). With the characters also undergoing adaptation, it lends itself brilliantly to exploring representation, particularly used as a counter-foil to one of the many representations of Sherlock Holmes.
Sherlock Holmes, played by Benedict Cumberbatch (Atonement, The Other Boleyn Girl), still uses all that London has to offer him to solve the cases, which in this time period, offers him all the latest technology. However, there are many elements true to the original; his abode still contains all manner of curios and relics of yesteryear, as his imagination spills from his head into his living areas.
Dr John Watson, played by Martin Freeman (The Office, The Hitchhiker’s Guide to the Galaxy, The Hobbit), is a returned military doctor from Iraq, who is more than suited to keep up with Sherlock’s expanse of imagination and obsession.
With each self-contained episode lasting an hour and a half, the first episode, ‘A Study in Pink’, would prove to be sufficient to study with a class. Contained within the episode are more than ample examples for each of the codes and conventions underpinning representation.
Technical
From the reaction shots of Sherlock to cutaways of each of the clues, the editing is brilliantly obvious as the crime scenes are explored. Combined with an exquisite use of diegetic text that appears as Sherlock deduces clues, it provides a window into his inferential methods of deduction.
The use of establishing shots, both high and low angled, paints London as a living, breathing city, adding significant modernity to Sherlock.
Written
As Sherlock examines the crimes, his deductions and mental processes are displayed on screen as non-diegetic written ideas. This provides an indication to the possible facts the clues reveal, clearly indicating to the audience aspects of character and possibilities of plot.
As modern London also contains a wealth of signage and logos, buildings, streets, companies, websites, the written word creates an addition level of living mesh in which Sherlock is placed.
Audio
Significant and obvious examples of diegetic dialogue and sound effects work alongside an array of non-diegetic audio cues and score to construct a rich modern reality. Sherlock and Watson’s repertoire of quick, witty dialogue to verbally disclose aspects of the case, provide similar insights into their characters. The bleeps of a mobile phone receiving an SMS and other incidental sounds of a modern world punctuate the scenes.
The atmospheric, modern soundtrack also brings a certain pulse to the stunning visuals of London. Added to this is an incredible effective use of non-diegetic audio cues to indicate mental processes at work.
Symbolic
The list of symbolic codes is extensive. Sherlock and Watson’s clothing and props could easily fill a lesson of analysis. Additionally, Cumberbatch and Freeman’s accompanying subtleties of acting provide many instances of denotative opportunity from which to draw connotative conclusions. These facets of other characters inhabiting the world could fill another lesson, particularly as the suspect/victim status lends them to be open for analysis. The city of London is also used as a strong, symbolic backdrop, providing a clear canvass for the action to be played out against.
Included on the DVD extras is a ‘making of’, which explores many of the decisions behind the adaptation of Sherlock into the 21st Century and underlines many of the conventions used to update the story and production behind one of popular culture’s most treasured and represented characters.