Editor Wendy Hallam Martin effectively let numerous scenes play from June’s perspective, often choosing close-ups; as a prominent theme throughout, the viewers feel immersed in the action of the show and a sense of direct involvement is never far away when engaging with an episode. The Handmaid’s Tale quietly forces the audience into the position of the handmaid herself: to watch is to feel the daily realities, the sensations and smells, the invisible constrictions and silent aggressions of living under patriarchy.

The female perspective in Episode 1

    The application of Mulvey’s Male Gaze theory within this episode is certainly not an uncomplicated one. On one hand, the narrative and story is so evidently based on a male-dominated world and viewpoint - and essentially that this is the whole point; in a world run by and based on male values, women, in whatever role or position, never thrive. This is especially prominent in the first episode despite the fact that there has been such little development of the female characters. However, in spite of the complicated aspects of the narrative at this point, much of the narrative is told from the perspective of the female protagonist: Offred. While we have not had much of a chance to see her character develop, her inner feminist perspective and disdain towards Gilead does not go unnoticed in this episode. She may not be able to efficiently project this at this point, but there are hints/ areas of foreshadowing that Offred is evidently not in support of Gilead. Her inner voice often represents a modernist, female perspective. A key example of this is the line “pious little shit” which is used as an insult towards her shopping partner. 

    In contrast to the unfortunate fact that the majority of directors and professionals in media are men, the Handmaid’s Tale joins a body of visual texts that are primarily created by women, from the female perspective. In Episode 1, the show’s careful aesthetic is immediately visible as June attempts to flee the country with her husband and young daughter. In many ways, it’s a classic escape scene, but it’s filmed in a series of tight close-ups of her face, alternating to POV shots of the action around her, all overlaid with the sound of June’s ragged breathing, before hearing her submit to screams. Instead of watching the scenario from a safe distance, it forces the audience to experience her abject fear and despair at close range. Arguably, this subverts the male gaze, and forces an audience to get uncomfortable, potentially forcing them to take a sympathetic tone towards the women in question, rather than having them there as romanticised, objectified mere bodies.

    There are indeed hints of male perspectives littered through this episode. As in myriad media texts, the camera shots often offer the male perspective. A clear exemplification of this is the scene of Offred in the bath (making herself ‘pure’), in which the audience sees the camera focus on her body. I would, however, go as far as to argue that the first episode forces audiences to get uncomfortable with the embodiment and harsh reality of the perspective of the female within the show.

    There are so many reasons why the televised version of The Handmaid’s Tale feels necessary today, including the ability to articulate the trauma of sexual assault and oppression, and to convey what lack of choice, when it comes to women’s bodies, actually looks and feels and smells like. The Handmaid’s Tale does feel purposefully feminine, and not in a romanticized, appealing way: in a way that feels overwhelmingly raw and real.

Narrative construction/ technical elements

    Throughout the show as a whole, and especially in episode 1, the camerawork used is intricate and subtle, but should not be underestimated as a tool for adding tension and suspense to a scene. During the show, a cleverly composed concoction of tracking shots, over-the-shoulder shots, as well as panning and close-ups are used to evoke intricate detail and subliminal messages to an audience. 

    Almost immediately in the opening scene of episode 1, the establishing shot consists of a tracking shot of what seems to be a high-speed car chase. Even at this mere point in the show, where we are markedly so scarcely aware of the plot, timeline or narrative, the initial camera shot used has already so prominently established an air of tension through ‘breaking the 4th wall’ and involving the audience in a car chase with little to no other established context whatsoever. Coupled with this is the numerous fast paced close-up/ extreme close-up shots of a young girl (Hannah) and her parents, at which point we are focussed solely on their emotions of evident terror and fear; the significance of these shots being the first time we are introduced to these characters as an audience is huge, for it initiates and foreshadows future events, character dynamics, and hints at the potential narrative points. 

    After the chaos of June’s journey to Gilead, the camera shots and angles used upon her arrival in this episode are also unreservedly key; Offred’s initial close-up shot of her first interaction with Serena Waterford are patently one of the first instances where the theme of social dynamic and structure is explored within the show, as well as giving the audience the chance to really focus on Offred’s feelings of isolation and desperation (through solely showing her eyes and face) which is key in the narrative development of this episode and indeed the show as a whole. Again, this is a common theme of the directors and cinematographers in the episode, with numerous instances of focussing on expression and emotion to convey the general mood. 

    Another noteworthy camera angle used in this episode is in ‘the ceremony’ scene. With focus on the brutality and horror of the ordeal, the prolonged low-angle shot of Mr Waterford stood above Offred before the statutory rape happens gives his character an air of status and power in this scene; the same is done after the ceremony if finished, with a prolonged high-angle shot shown above Offred, subsequently diminishing her say in the matter and taking away any element of choice (a crucial element of the narrative in this episode)

Scene editing

    An additional key component of the series’ success is the manner in which the scenes are put together and the elements of editing used throughout. This may not be something that an audience consciously absorbs, but are as equally as salient as other details in the episode.
    A myriad of jump- cuts are used throughout the episode to highlight the contrasts and further emphasise the stark differences in drama and the dramatic use of silence. Editor Wendy Hallam Martin said “This show cuts like no other show I’ve ever done before,” She also goes on to state: “You don’t cut it traditionally. You hang on shots a lot more than you normally would. You don’t always cut to reactions. It’s hard to put into words. You have to feel it. You have to have a gut reaction as to how it should be cut.” This happens multiple times throughout the episode in particular elements of trauma and drama. A prominent example of this is at 4.47, when the camera is moved from being placed in direct action to a long-shot of Offred sat at her window in Gilead. The technical connotations of this use of silence mean Offred is established to be ‘at peace’.
    Furthermore, the use of editing and the implications of using a series of flashback scenes littered through the episode again seek to accentuate the stark contrasts between Gilead and the modern world. More specifically, the use of the ‘modern women’ flashback of June at 16.55 shows the ultimate freedoms women had pre-conflict.
    A multitude of scenes in this episode use slow-motion editing which is integrated with faster paced cuts and camera movements. This is most prominently done in scenes which are fast paced and drama filled as this technique tends to accentuate and place prominent emphasis on the high-speed drama. For instance, this is used in the fighting/ sacrificial scene at 47.40

Lighting, composition and colour 

    As a tool of narrative, lighting is arguably used throughout episode one as one of the most effective, yet subtle, tools to allow the viewer to subconsciously decode the intended message. In the first episode, the lighting behind Offred’s window blinds the protagonist, highlighting that sense of intense emotion rife throughout this episode. In another scene, a single beam of light casts the sole source of light for the handmaids, perhaps being indicative of the sense that the only sense of hope or light is away from Gilead.

    In addition to the specific, clever manner in which lighting is used throughout the episode, the composition in the series as a whole is another tool used by the directors to immerse the viewers in drama and intensity. Throughout, we see that Watkinson favours the symmetrical elements of a scene, specifically when developing the handmaid’s storyline. For instance, the manner in which the handmaid’s walk in pairs, the way Offred and Aunt Lydia occupy equal segments to the left and right of Offred’s room, and the way that Offred’s close-ups often fill the entirety of a shot. These scenes are so well-balanced it adds an air of uncomfort and inauthenticity, giving Gilead a surreal and artificial feel. 

    The show’s use of colour throughout is often very significant too. On a surface level, the red colour connotations of the Handmaid’s clothes tend to connote danger and unprompted sexuality, which on a level shows a direct link to the narrative and story of the series. However, unpacking the intriguing use of colour on a deeper level, the viewer can depict that the entire show is generally lacking in vibrant colour, with each shot more subdued than the next. This colour scheme seems to be overwhelmed by a vintage tone, adding the feeling that it is similar in nature to an older compilation of footage rather than a futuristic 21st century TV show. 

   Ultimately, the complexities of the first episode are far from monotonous. From the consistencies in camera shots and angles, to the range of fast paced cuts, to the use of colour and composition, the episode features numerous elements to unpack, which arguably all relate back to the establishment of the complex female perspective and narrative seen in the episode.