Sexuality is represented as something that would have been illegal in the time that the programme was made. The use of mise-en-scene immediately signifies that it is a period drama, which further emphasises the controversy of such sought after desire. We are invited to sympathise with Miss Maud, as the camerawork constructs the story from her point of view. The extracts presents very atypical representations of lesbians.
Miss Maud's gaze at the other women shows her lust for her and the dripping of the red paint is significant for an array of reasons. The red paint is symbolic of the loss of virginity, danger and passion, the red on white shows a real loss of innocence. Her desire over powers her and she climaxes, although this puts her in a dangerous position which the soundtrack reflects. The man see's her gaze and becomes aware of her feelings for the woman. Her labored breathing also highlights her strong desires for the other woman, which is the moment the man seizes her.
The man is shown trying to restore his dominance, and is essentially chasing after a woman he knows doesn't want him, and he seeks to change that. The scene behind the tree where he slowly removes her glove signifies the most risque act he can undertake, as he is exposing her flesh and licks it. This is him reclaiming her and he regains his dominance.
The straight cuts where we see the woman lying awkwardly asleep by the boat allow Miss Maud to paint her. Not only is this a usual occupation for women of the time, but acts as a proxy so she can gaze frequently at her and paint her. As it is from her perspective, as the audience we are thus forced to look at her in this way too.
Moreover, the scene in the bedroom where they are lying in bed together is important as it is where we first establish that she has strong feelings for this woman. She is slowly gliding her hands over the other woman's body, but not actually touching her. This hints at the fact that it would have been forbidden, which could arouse her and make her want it even more
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