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.
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.
Spooks, a British
television drama series, was originally aired on BBC One [May 13th
2002 – October 23rd 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.”
