Preliminary Task Finished

Case Study: Essex Boys

Terry Winsor, the film's auteur director, establishes the thriller genre of Essex Boys within the title sequence of his 2002 production.

A dimly lit, derelict garage acts as the setting for the first scene in the film; chiaroscuro lighting and a dark, claustrophobic composition is supposed to spark fear in the viewer, as conventional mise en scene - cobwebs galore, overpowering blackness and a neglected car - is utilised in order to connote further the bleak, dismal location. The set could be interpreted as an indicator of the character's current state - intimidated, and very vulnerable, as if abandoned there like the old vehicle resting beside him. Alternatively, non-ambient lighting is used here so as to reinforce an initial sense of isolation the audience may have picked up on and establish Essex Boys immediately to be a noir thriller, due to classical noir films generic inclusion of non-natural lighting.

Developing the genre and plot hastily, Winsor introduces us to the character of Jason Lock. A medium close up point of view shot is selected to establish him, whilst Billy Reynolds narrates through a dirtied windscreen. The lamp hanging from the roof is positioned behind Jason, insinuating that he is to act as Billy's only hope throughout the film, as if he's some sort of saviour. The placement of glass from the windscreen comes between the pair, implying Jason's detachment from both Billy and the viewers, as Billy is narrating to us and so we feel more inclined to relate to him as he is taking us into his confidence. The scene is one of an ominous nature for sure, as the arising sense of being unhealthily detached from emotions, people and socially accepted norms and values begins to suggest Lock's psychotic tendencies. The screenshot above foreshadows the behaviour, the violent outbreak of Jason in the food factory.

Location, location, location

"Media isn't worth studying"

Earlier this evening I went to the UEA to watch some of the shorts put on by the Minotaur Theatre Company. As much as I enjoyed the performances and thought every piece to be entertaining, I couldn’t help but leave the Drama Studio disheartened.

In the final play, four female characters were sat in a living room after going to a house party. One of the girls was depicted notably more ditzy than the rest. Upon her making a dumb remark, her friend replies with “God, and you’re taking a degree” to which a third party adds “Well to be fair, it is a Media degree.”

The dialogue, though intended to humour the performance, made many of us in the crowd boo. It got me thinking, too; is Media worth studying?

Of course it is. When I say it got me thinking, I don’t mean the line made me question my taking the subject. It just saddens me that in a world in which technological evolution is so evident, people still bash those who wish to study and understand the life around them.

I thought that the attitude of the character is, unfortunately, the attitude of lots of others, which is also worrying. I chose Media Studies both as a GCSE and an A-level as it informs those taking it so well on endless topics. Studying it for the last two years has academically placed me at an advantage on more than one occasion. For example, the gender representation course we looked at in particular depth in Year 10 helped me when sitting English assessments and exams in which representation, of women especially, were relevant in texts we studied i.e. Steinbeck’s Of Mice and Men.

English aside, Media so conveniently closely links to subjects such as Theatre Studies and Philosophy and Ethics and Sociology, all of which I am either currently taking or have taken.

I just thought I’d share the annoying fact that one of my favourite subjects is constantly being degraded, often by those not even taking it. In my opinion, the only thing here that deserves being knocked are the people who maintain such outdated views. It wouldn’t matter as much should they not access all these wonderful new technologies only to slate them; it makes me all the more angry and sad that the ones who overlook and dismiss Media to be a subject for those not so intellectually capable are also the ones who rely on others' Media-orientated inventions on a daily basis.

In other words, Media IS worth studying.

Case Study 1: Thriller TV drama/series

Case Study 1: G321 Research into thrillers

Thriller TV drama/series

Spooks [2002 – 2011]

Spooks, a British television drama series, was originally aired on BBC One [May 13^th 2002 – October 23^rd 2011] and is compiled of 10 series in total.

The show derives its title from a colloquialism for spies, as the episodes themselves follow the members of Section D, a sector of MI5, and the tasks they perform in relation to their jobs. With Section D based at the service’s Thames House headquarters, and the offices inside referred to as ‘The Grid’, the series balances the work of characters situated both within the edifice and out successfully; whizz-kids and intellects huddle around computer screens, rattling instructions off to the action men ‘out in the field’ diffusing the latest bomb and tracking the newest antagonists and reciting secret codes like there’s no tomorrow.

As well as a flawless compromise between humour and tension, Spooks is remembered for its high quality production and employment of popular guest appearances.

Awards picked up over the years include a BAFTA for Best Drama Series [2003], a win from the Royal Television Society Awards [2003] and the Broadcast Awards [2003] for the same nomination [Best Drama Series]. Latterly, in 2008, Rupert Penry-Jones and Hermione Norris were awarded Best Actor/Best Actress at the Crime Thriller Awards. Jennie Muskett and Paul Leonard-Morgan were nominated also for BAFTAs in Original Television Music, but didn’t receive any further success.

“One of the best things on British TV –

Spooks is, quite frankly, bloody excellent. It seems to have learnt all the tricks that the best of American thrillers have picked up . . . The acting is likewise excellent [unlike many other similar programmes, Spooks doesn’t attempt to make the characters whiter-than-white. They’re likeable, just not perfect]. It also has the bravery to use storylines that are shocking.

10 out of 10.”

The Horseman, IMDB user from London, England

Recently discovering that the series will be resurrected in film form, Spooks: The Greater Good, I greatly anticipate the release. The only further details, however, that I can access as this time include suspected names surrounding new members of the team, and the expected date of which production is due to commence; early 2014.

Video One – Spooks series 7 episode 8

Firstly, as I regard it to be one of the most effective elements of the clip, the soundtrack throughout is essential to the enforcement of this series being thriller in genre. I say the soundtrack, although really it is the lack of all noise, or all artificial, non-diegetic noise, that creates much needed tension during the opening gunfight sequence.

A motorbike snarls by within the first few seconds, a dog barks in amidst the heart of the discord, car alarms intertwine with gunshots – all these naturalistic sounds combine with the fact that the conflict unfolds before us in real-time [there is a crucial absence of editing; both fast paced and slow motion], making the piece appear particularly tense. Constant droning of traffic in the near distance brings back the imposing threat to public safety the characters are engaged with preventing. A further lack of all diegetic noises being enhanced – or enhanced obviously – during postproduction heightens audience anticipation, with the result looking realistic and therefore more dangerous. Exaggerating the risks of a situation is virtually a remit for thriller genre productions; should they fail to comply with meeting this requirement, they jeopardise the construction of tension for their viewers. Spooks follows this ‘rule’ and is highly successful as a consequence. Additionally, the music played by both the piper in the subway, and the piano by the sleeper agent contrast significantly to the escape the spooks are attempting to make.

The mise en scene of the extract is overpoweringly dark, ominous. Activity within all scenes is patriarchal, and reinforce archetypes of thriller dramas/films being more catered toward males audiences. Blue tinges seem to occur both naturally and with the aid of some very slight tinting, either way connoting a cold, hostile atmosphere. This hostility could be seen reflecting the frictional relationship MI5 are depicted to have, in this instance, with the Russians. The literal gap between the protagonists [the spooks] and the antagonists [the Russians] constructs connotations of the physical differing to be reflective of the contrasting aims and ideologies held by each group. The gunfights spatial composition mirrors the relationship MI5 allegedly have/has with the FSB.

Not so coincidentally, amongst a dense, crowded, urban landscape, the only colour to be found is present in shots involving large clumps of the public. An example of this is Harry Pearce [Peter Firth] escaping his pursuers; the flowers beside, and the brightly clad sea of civilians engulfing him act as the only colours in the scene. The primary connotation of this is symbolic; the public and the city symbolise the life they [the entire team] are trying to preserve.

Camerawork, of course, plays a colossal role in asserting the thriller genre of Spooks. Handheld filming is featured at the start, connoting the disorientation Lucas North [Richard Armitage] was supposed to feel as he endeavoured to protect his boss, colleagues and himself. The jumpiness also informs the viewer that the moment of disequilibrium is upon the characters and, ultimately, them. Control, in the opening shootout choreography, constantly shifted between two opposing sides; the shaky camerawork connotes this perfectly.

A more poignant angle is added as Harry’s foreign pursuer gains on him in the subway; this over the shoulder shot effectively captures key action, possibly rising audience anticipation and expectancy yet higher. From this, the scene transforms into a low angle shot reverse shot, still between Harry and his opposition. Rendering the Section D head to be the less weak of the pair, Harry appears stronger and powerful in comparison to the dying man choking below him. So as to illustrate the solution to the conflict, the piper’s playing in the background resumes, becoming audible once again. This further contrasts almost comically to the grim but humorous death of the Russian antagonist. Slow motion added to the tracking shot of Harry’s journey underground, as he dodges the hitman, is also incorporated. Only when the shooter rests his laser on Pearce’s chest does the film resume normal pace. This connotes tension, making viewing a thrilling experience.

Finally, fair representation, as demonstrated partially within the clip, helps make Spooks so successful. There is evidence of this when a Russian woman is seen, firstly in the office, but then also when a second foreign female is out in the field. Possessing intelligence and handling weapons are archetypal characteristics and actions adopted by male protagonists. Weapon use, conventionally, attracts more patriarchal audiences. In fact, the female shooting at Lucas outlives her male accomplice, as he is lost to the violence. Here, gender correlating to capability is portrayed equally; none of the females in the extract are exactly marginalised e.g. Ros [Hermione Norris] and Connie [Gemma Jones] – a notably older woman – are seen separated from their male peers and having to fend for and save themselves.

A more obvious picture painted of equality, this time concerning age representation, includes Harry – an older male and less likely protagonist – killing a younger, supposedly more physically able man. Furthermore, Malcolm [Hugh Simon] and Jo [Miranda Raison] were revealed to be as heroic as the likes of Lucas and Ros. Although tucked behind the safety of a computer screen, both Jo, a female, and Malcolm, an older male, are shown as intelligent individuals on ‘The Grid’ and act as integral parts of the team and the team’s wellbeing. Spooks was known to often challenge such conventional formulas of representation, instead reinventing these traditional roles of males and females, the old and young, foreigners and nationals, making for extremely refreshing viewing – both when it was initially broadcast, but even nowadays, as discriminatory representation is still an issue, I believe, in modern media.

In my opinion, Spooks is a superb production, a show that only got better as it went along. The 10 series, comprised of 64 episodes, manage to pack the same punch as blockbusters and thriller films – of a far larger budget – on a weekly basis. As well as complex plots, the scriptwriters have even found time to work in humour; comical aspects strengthen both our like and dislike for characters, either way engaging us enough to continue watching.

To summarise the specific clip analysed, I think the tension present within the opening gunfight sequence to still be there at the end of the piece – a great achievement indeed. In my eyes, the above is just one of the many examples that demonstrate why the show is so good, and why, ultimately, it should be set aside and esteemed on a completely different level to other series releases similar in genre and narrative.

Below are two additional snippets from the show; the first from series 7 episode 1 and the second from series 7 episode 6. I also feel they are strong illustrations of what I’ve spoken about above; Video Two exhibits the shows daring storyline and plot twists, as Adam Carter [Rupert Penry-Jones] takes his car for one final spin. Spooks was always inclined to kill off characters frequently [but effectively], gripping viewers with the cruel disposability of their favourites.

Video Three expands particularly nicely upon my previous representational deductions. Firstly, the characterisation of Dean [Jacob Anderson] as a British youth is interesting, as it isn’t so challenging, not so seeking to break stereotypes of young people, of young boys especially, as Spooks usually sets out to be. Secondly, Jo is seen unarguably breaking generic conventions of women, as she punches her opposition before exiting the scene unscathed, smoothly. She empowers the female figure as opposed to degrading her gender, I love it.

Video Two

Video Three

Series 7 is where all three clips are taken from. In conclusion, here are two slightly more esteemed reviews:

The Guardian’s Leigh Holmwood suspected Adam’s departure “would have cast a long shadow,” but continues to state that the introduction of Lucas “more than made amends” by means of a replacement. Branding Ros Myers’ return “a genius move” before considering it to be the best series of Spooks, I think it is obvious that I am not alone in thoroughly enjoying the show.

Mark Wright of The Stage calls series 7 “stunning” with the final 3 episodes “hitting new heights of tension and storytelling” in particular. Like me, he believes it to be “as good as, if not better, than the first couple of seasons.” Notably, Wright praised the “strong female role model” of Norris’ Ros Myers. The critic concluded that “Spooks has been my favourite show of the last few months and indeed of 2008.”

I couldn’t agree more, Mark.

Preliminary Task Evaluation

Task 1: Scan your storyboards and any other planning onto your blog in order to reflect your ability to plan

Task 2: Evaluation of Preliminary

1) What planning did you do for your filming task, and how did this planning aid the filming?

My group and I endeavoured to create a storyboard when brainstorming ideas after concluding upon the topic of our conversation; I was to lose the History textbook that Laurie had lent me.

Finding this planning process to involve time we thought would be better put to use by filming and editing, however, as we could clearly visualise the scenes and shot types we wanted, creating a shot list emerged as a more appropriate solution.

Constructing a chronological list of camera angles within the same lesson in which we recapped conventional shot types, we set about trying to replicate as many of them as possible in our Preliminary Task. Examples of shots we were inspired to utilise include the bird's eye view, the worm's eye view and the more advanced tracking shot.

2) What is the 180 degree rule, and how is this rule important to the filming task?

As the image above demonstrates, the 180 degree rule, or the rule of line-crossing, is a guideline of which must be conformed to in order for on-screen interaction between two objects, or characters, to work successfully.

An invisible line is known as the axis, and connects two individuals or more by keeping the camera on one side of it. Maintaining the camera positioned within a field of 180 degrees makes the interaction between two or more objects an interaction of which is easily understandable. Should the camera cross the imaginary line (axis), viewers undergo disorientation; they shall feel confused as to who is talking, for example, as a character consequentially never stays in one place, or remains on one side. This is called crossing the line or jumping the line.

3) What shot types and camera angles did you use in your filming task, and to what effect?

My favourite shot is the Study Hall tracking one, of which I previously mentioned. It resembles Tarantino's extensive tracking shot featured in the opening to Jackie Brown, a shot type studied briefly in class. The subject - or Laurie - is depicted throughout the clip at length from the camera I pushed on a tripod and dolly, so as to ensure a smooth manoeuvre, resulting in the shot additionally acting as a sort of establishing one; the pod he latterly enters hosts our conversation, and the location of the pod is established by this shot.

An earlier angle incorporated, the bird's eye view, I feel personally is particularly required, as it makes Laurie's journey down the corridor far more interesting; if were to have solely shot him walking with less sophisticated over the shoulder shots and tracking ones, the pace and accumulation of tension would likely have suffered. Virtually all of our shots were cut, even if ever so slightly, so as to heighten audience anticipation as a direct result of extracting any irrelevant footage.

Camera training: Still images

'PRACTICE SHOOTING'

- ESTABLISHING SHOT -
These include vast amounts of space enveloping the primary subject,
or focal point, of a scene. The attention of the audience is often driven
directly to the part of the composition that actually establishes the shot

- POINT OF VIEW SHOT -
A fairly self-explanatory shot type; the image illustrated to viewers is that
of which the character's supposedly seeing also. The audience temporarily
embody the eyes of another

- WORM'S EYE VIEW -
Usually a worm's eye shot is incorporated when a scene involves fear,
or is sometimes included within a production when a character is fleeing
from a situation. Audiences tend to feel either exposed or neglected,
witnessing events from a more helpless perspective

- BIRD'S EYE VIEW -
The accuracy of this image is rather weak - I think it would be
strengthened by the [toy] gun being held as oppose to resting, so as to differentiate it from such shots below, like the close up and medium close up.
Bird's eye view shots provide viewers
with alternative and exciting viewpoints of intense action

- EXTREME CLOSE UP -
Used when a character's action or emotion is
particularly significant or symbolic.
Frequently featured to portray terror in films of a
thriller genre, for example

- CLOSE UP -
A type of shot utilised when concentrating
exclusively upon one object; an angle allowing audiences to identify with a
character and their emotion

- MEDIUM CLOSE UP -
This shot type is employed to bring to focus a subject,
indicating his or her feelings and intentions during a sequence

- TILT SHOT -
Constructs an illusion of confusion or disorientation

- LOW ANGLE SHOT -
Creates connotations of authority, power, status
and fear. Characters depicted at lower angles are often
evil and menacing

- HIGH ANGLE SHOT -
Renders a subject more insignificant and/or vulnerable,
however due to my object this may not become apparent
so easily