Sunday, 31 October 2010

This is England





'This is England' facts:
  • £1.5million budget funded by National Lottery;
  • £90,000 extra was given by UK Film Council after production;
  • 2006 film, directed by Shane Meadows.
  • produced by Warp Films.
'This is England' was based on some of the director's own experiences as part of a Skinhead gang in his childhood. The actor who plays the lead role of Shaun was a tearaway and part of a gang himself, with no acting experience, until he was cast in 'This is England'.
Shane Meadows bought props and vehicles off Ebay to make the film as authentic as possible and make it resemble 1980's Britain; he even found a prefabricated set to film which hadn't been changed from the 80's in order to film indoor scenes. The film uses entirely natural lighting and there is a lot actor improvisation involved. The purpose of the film for Shane Meadows, was to change the perceptions of Skinhead culture, in particular with regards to racism.

Whilst watching 'This is England', we were asked to answer the following questions:

1. What is the appeal to British audience? Who is this audience, and how do we know this?

The target audience is working class British people, in particular men, however women are represented too by the girls the Skinheads hang around with in the film. We know this through the mise en scene; one of the first shots we see is of a typically working class council estate (it is derelict and overgrown, with boarded up windows, etc.). The film also targets teens as an audience - despite the 18-rated certificate - and other subcultures. An example of this is the goth girl present at school who is accepted by the Skinheads. 'This is England' has a message for teens with regards to the ways of gangs - in the film, the Skinhead gang is quite turbulent, with arguments starting often. This is meant to put teenage members of the audience off becoming part of a gang, due to their being unstable and unsafe.
On a larger scale, the film appeals to all members of a patriotic, British adult audience. Even the title induces national pride, which would appeal to a large number of the audience who are English.

2. How does the cinematography differ from that of 'Hot Fuzz'?

Like 'Hot Fuzz', 'This is England' opens with a collection of clips which set up the storyline. However, in 'This is England', the clips are actual footage from the time of the film (1983), such as images of Margaret Thatcher and the Faulklands. This short, condensed information helps to place the audience in the time-setting of the story of the film.
On the whole, the shots in 'This is England' are at a much slower pace than those in 'Hot Fuzz'; there are more simple transition cuts, in contrast to the snappy ones in 'Hot Fuzz', which help point out the respective genres of each film. Since 'Hot Fuzz' is a comedy film, the snappy cuts are used for comedic effect, whereas in 'This is England' - a social realism film- they are used to create realism and a serious atmosphere.
Also, montages are used to move the story along, and also to give insight into the characters emotions and lifestyle. These montages also have slower-paced shots in order to create a serious, non-mocking atmosphere, compared to the comedic ones in 'Hot Fuzz'.

3. How is social realism constructed?

Several features contribute to creating the genre of social realism in 'This is England'. One such is the aforementioned montages, which show characters lifestyles and daily routines, which invoke realism and make the characters more relatable (we can see what they are like day to day). Also, the mise en scene and character profiles assist in constructing realism, the working class characters and the way they interact with their working class surroundings (and, of course, their fellow working class characters) help create a realistic setting and plot. Simple characterisation devices help to set up this realism, such as the (stereo)typical, less witty, more physical forms of humour used by the working class people in the film. Finally, the actor's improvisation helps to construct a socially realistic atmosphere in keeping with the genre; the way the characters have free-flowing, relatively unplotted conversations with each helps to add a realistic feel to the film.



Thursday, 28 October 2010

Eva Mendes Calvin Klein Advert

Eva Mendes Calvin Klein

Example of the Media Objectifying Women

Khia - My Neck, My Back

This video has several examples of the male gaze being satisfied by the use of females. With sexually suggestive poses, dancing, lyrics and shots, making them the object of the spectator.

Female & Male Gazes

Marjorie Ferguson created the categorisation of female facial expressions. These consist of:

Chocolate Box -  half or full smile, lips together or slightly parted, teeth barely visible, full or three-quarter face to camera. Projected mood: blandly pleasing, where uniformity of features in their smooth perfection is devoid of uniqueness or of individuality.

Invitational - emphasis on the eyes, mouth shut or with only a hint of a smile, head to one side or looking back to camera. Projected mood: suggestive of mischief or mystery, the hint of contact potential rather than sexual promise.

Super smiler - full face, wide open toothy smile, head thrust forward or chin thrown back, hair often wind-blown. Projected mood: aggressive, demanding, the hard sell,attention-grabbing, intense approach.


Romantic/Sexual - a fourth and more general classification devised to include male and female ‘two-somes’; or the dreamy, heavy-lidded, unsmiling big-heads, or the overtly sensual or sexual. Projected moods: possible ‘available’ and definitely ‘available’.

Trevor Millum devised the categories for male facial expressions, such as:

Seductive: similar to the cool/level look in many respects - the eyes are less wide, perhaps shaded, the expression is less reserved but still self-sufficient and confident; milder versions may include a slight smile.

Carefree: nymphlike, active, healthy, gay, vibrant, outdoor girl; long unrestrained outward-flowing hair, more outward-going than the above, often smiling or grinning.


Practical: concentrating, engaged on the business in hand, mouth closed, eyes object-directed, sometimes a slight frown; hair often short or tied back.
Comic: deliberately ridiculous, exaggerated, acting the fool, pulling faces for the benefit of a real or imaginary audience, sometimes close to a sort of archness.

Catalogue: a neutral look as of a dummy, artificial, waxlike; features may be in any position, but most likely to be with eyes open wide and a smile, but the look remains vacant and empty; personality has been removed.

Wednesday, 27 October 2010

TV Drama - Generic Conventions


You will find that TV dramas all have the following ingredients:

Characters – even particular kinds of characters: eg, at its most simple, ‘good’ and ‘bad’ characters.

Stories – they all tell stories, whether those stories involve adventure, crime or romance and they often, but not always, end happily.

The stories are told against familiar backdrops: – eg, homes, police stations and offices (for crime dramas), hospitals (for medical dramas) – most of which are created in studios. However, most dramas also use outside locations to create particular effects.

Camerawork – particular kinds of shots are used: eg, sequences involving establishing shots followed by mid-shots of characters, shot/reverse shots to show character interaction and, in particular,close-ups to show the characters’ emotions.

Stories use dialogue to tell the stories. Occasionally, monologues are built in (as voiceovers, a character telling a story).

Music is used to punctuate the action, create effects (suspense, tension) and underline emotional moments.

Particular subgenres tend to have items which make them immediately identifiable – police cars, blue lights, operating theatres and scalpels, triage/reception areas in hospitals. Icons of the genre, they symbolise the (sub)genre.

Freddie Ljunberg Calvin Klein Advert

Freddie Ljunberg Calvin Klein Advert

Hot Fuzz Storyboard

Hot Fuzz Storyboard


Textual Analysis and Representation - 7 key areas

You need to understand how these technical elements (in the last post) create specific representations of individuals, groups, events or places and help to articulate specific messages and values that have social significance. Particular areas of representation that may be chosen are:

  1. Gender
  2. Age
  3. Ethnicity
  4. Sexuality
  5. Class and status
  6. Physical ability/disability
  7. Regional identity

Textual Analysis and Representation - 4 key areas

Camera Shots, Angle, Movement and Composition
  • Shots: establishing shot, master shot, close-up, mid-shot, long shot, wide shot, two-shot, aerial shot, point of view shot, over the shoulder shot, and variations of these.
  • Angle: high angle, low angle, canted angle.
  • Movement: pan, tilt, track, dolly, crane, steadicam, hand-held, zoom, reverse zoom.
  • Composition: framing, rule of thirds, depth of field – deep and shallow focus, focus pulls.
 
Editing

Includes transition of image and sound – continuity and non-continuity systems.

  • Cutting: shot/reverse shot, eyeline match, graphic match, action match, jump cut, crosscutting, parallel editing, cutaway; insert.
  • Other transitions, dissolve, fade-in, fade-out, wipe, superimposition, long take, short take, slow motion, ellipsis and expansion of time, post-production, visual effects.

 Sound

  • Soundtrack: score, incidental music, themes and stings, ambient sound.
  • Diegetic and non-diegetic sound; synchronous/asynchronous sound; sound effects; sound motif, sound bridge, dialogue, voiceover, mode of address/direct address, sound mixing, sound perspective.

Mise-en-Scène

  • Production design: location, studio, set design, costume and make-up, properties.
  • Lighting; colour design.