Reflective Analysis Guidance

To complete your practical work you need to write a reflective analysis of 1000 words. This must be presented in the usual format i.e. double line spaced, Calibri, Ariel or similar sans serif font, size 10/12, with a header and footer. The header should include the following:

• Your Name, Your Candidate Number
• WJEC Advanced Film Studies Unit FM3 Creative Project
• Summer 2016
• Reflective Analysis of Creative Work

The footer should contain cumulative page numbering.

It should include/discuss:

How successful the work was produced in terms of meeting its aims and context. Themes, issues, style and music should be assessed in terms of appealing to its target audience. (Refer to key films and filmmakers/screenwriters whilst also highlighting and defining your intended means of exhibition - arthouse/mainstream/film festivals etc)
How well you utilised certain styles, techniques and methods of production in your work. What was successful, less successful and/or unsuccessful in your intended aims (refer to your aims and context: be critical of your own work).
Give a critical account of exactly what your role was in the process and discuss; difficulties encountered in production (technical or group dynamics). Assess your own abilities; strengths/weaknesses. Refer to elements that you have altered to meet its aims.
A discussion of what you have learnt about the filmmaking process and the difficulties that may be encountered by undertaking this practical exercise and a critical reflection of the whole process.

The supporting written work for this assignment should be detailed, concise and show a good grasp of all elements of the filmmaking/screenwriting process throughout. Your ability to identify styles, techniques and influences on your work should reflect a strong understanding of the chosen form you have worked within.

Further Guidance: The exam board rightly finds it unrealistic that you will be able to complete an entire production report highlighting everything that went well or wrong. Instead, they advise you to adopt the same perspective as your AS micro analysis, focusing on aspects of your production rather than providing a comprehensive overview of the production process. 

 As a starting point: -­‐ You may wish (in your groups or individually)  to think of 5 scenes of your production that you will definitely discuss. 

What creative decisions did you make? Were they the right ones? How were they affected by your aims & contexts? -

You also will need to focus somewhat on your roles  within the production. 

You were still responsible for overseeing one aspect of it. 

Focus on what your role entailed in the context of particular scenes.

Marking Criteria for Reflective Analysis: 

Level 4 (12-­‐15 marks) 

• A detailed and perceptive account of the creative process and production 

• Excellent, perceptive consideration of the relative success of the product in relation to its aims, audience and context 

• An excellent sense of how far it has been possible to work creatively within the conventions of the chosen product’s medium. Quality of (written) communication 

• Excellently structured and accurate use of appropriate language to communicate clearly.

Task 1:

Using the given marking criteria, you should award a level to the exemplar work provided.

Task 2: 
Produce a plan for your own reflective analysis. This should be one side of A4 and submitted at the end of the lesson.

Assessment 8 Response PF and ER

Explore some of the ways in which emotional response is generated through the filmmaker’s use of narrative techniques in the films you have studied for this topic. [35]


One of the key words here is ‘explore’, this implies a detailed analysis. So include specific extracts from the case studies.

You need to demonstrate your understanding of the terminology used.

1. For example; what is meant by emotional response?

2. Notice that the focus of this question is on filmmaker’s use of narrative techniques, these would need to defined too.

___________________________________________________________

The mark scheme for this question says to look for the following:

 An excellent knowledge of the films studied for this topic, specifically the narrative techniques they deploy. 

 A good appreciation of how narrative techniques can be used to ‘manage’ the spectator response. 

 An ability to develop a coherent exploration which may be based on productive similarities and contrasts between film examples and which is based on a sound understanding of spectatorship issues. 

 (The very best candidates) … may demonstrate a particularly sophisticated understanding and appreciation of narrative techniques in mainstream films, using this to offer advanced insights in spectatorship.

_________________________________________________________

You need to be able to consider the following for inclusion in your response to the question:

Historical/Political/Social Context - What issues is the filmmaker dealing with?

What were the film-maker’s  Intentions in relation to the above?

What use of Use of Film Language- Macro and Micro elements in specific scenes can you describe?

How did the Film Affect You personally? Change of Opinion/Learned New Information/Left a Strong Impression/Affected You Deeply?

Task 1: 
Look at the specific extracts shown on the handout provided.
In the boxes, comment on each of the following:

Emotional manipulation

Performance

Soundtrack

Variation on responses.

                    ________________________________________________________

Spectatorship theories are based on the belief that film is an affective medium – that spectators are affected by watching films
If we accept that film is an affective medium with the power to affect our emotions then we need to consider the ways in which it does that:

•Director/Screenwriter’s Intentions

•Star Performance
•Narrative Structure
•Film Language
•Historical/Political/Social Context

Task 2: Using the handout provided, comment on each of the points listed above in relation to the scenes indicated.

Case studies extracts:

The Crying Game

Glasshouse Scene

City of God

Runts

Natural Born Killers

I love Mallory

_________________________________________________________

Approaching Exam Questions

Starter: White boards - Write 2/3 key words which describe your emotion when viewing the following scenes from our three case studies:

1. The Crying Game - Jody gets killed by his 'resuers'.

2. Natural Born Killers - 'I Love Mallory' sitcom parody

3. City of God - Benne's killing at the dancehall

___________________________________________________

Approaching exam questions.

It is important that before you start answering the question in the exam, that you consider what the question is actually asking you.

The key to this is to unpick the question, look for key words that will allow you to establish a focus for your response.

Example question:
- How important is the soundtrack in influencing the spectator’s emotional response to a film?

By the use of the word ‘how’ you are being asked to make a judgement and come to a conclusion.
You would also be expected to explain what you understand by soundtrack in relation to the texts.

Example question:
-Explore some of the ways in which the spectator’s emotional response to popular films is the result of visual elements such as cinematography, special effects or design.

One of the key words here is ‘explore’, this implies a detailed analysis. You need to demonstrate your understanding of the terminology used. For example; what is meant by cinematography? Notice that the focus of this question is on spectator’s emotional response not of the text itself.

Example question:
-To what extent is the success of your chosen texts dependent on stars and celebrities?

‘To what extent’ allows you to qualify which texts ARE dependent and which aren’t but the question suggests that you need to comment on how much they are dependent. This suggests there may be other factors that have contributed to their success. If this is the case, you will need to develop this point with examples. You should also discuss the notion of success.

Criteria Terms and command verbs

Command verbs that you will see in internal assessments can be confusing. Different command verbs will ask for different types of information. Below is a table, which has the command verb and definition.

Assessment/Command word	Definition
List	Write a list of the main items (not sentences).
State	Point out or list the main features.
Define	To state the meaning of something using the correct terms.
Identify	Give all the basic facts which relate to a topic.
Outline	Write a clear description but without going into too much detail
Demonstrate	Show that you can do a particular activity or skill.
Explain	Make your point clear by providing sufficient detail.
Describe	Give a clear, straightforward description which includes all of the main points.
Summarise	Write down or articulate briefly the main points or essential features.
Discuss	To present an argument for and against.
Explain	Give logical reasons to support your view.
Describe	Give a full description including details of all the relevant features.
Demonstrate	Prove you can carry out a more complex activity.
Analyse	Identify the factors that apply, and state how these are linked and how each of them relates to the topic.
Justify	Give reasons for the points you are marking so that the marker knows how you arrived at that conclusion.
Suggest	Give your own ideas and thoughts.
Assess	Evaluate in terms of advantages and disadvantages.
Analyse	Identify several relevant factors, show how they are linked, and explain the importance of each.
Evaluate	Bring together all of your information and make a judgement on the importance or success of something.
Recommend	Suggest changes or improvements.
Make recommendations	Make relevant and appropriate suggestions; usually for improvement.
Select and demonstrate	Select several relevant examples or pieces of related evidence which clearly support the arguments you are making. This may include showing particular practical skills.
Review	Consider each factor in turn, providing a description and explanation of their uses, strengths and weaknesses, making recommendations.

·         Types of Emotion – tend to be categorised as Positive or Negative:

Positive	Negative
Happy	Worried
Surprised	Anxious
Thrilled	Frightened
Relieved	Uncomfortable
Hopeful	Annoyed
Satisfied	Frustrated
Sympathetic	Doubtful
Excited	Scared
Inspired	Sad
Exhilarated	Disappointed
Charmed	Dissatisfied
Delighted	Revolted
Cheered	Confused
Contented	Embarrassed
Empowered	Manipulated
Enlightened	Ashamed

Section B : Popular Cinema and Emotional Response

'A' Grade Exam Response Guidance

• Answer each question directly/stress the key points
• Use key words from the question: repeatedly throughout
• Make it clear what films will be discussed at the start: directors + year
• Refer directly to key sequences using detailed analysis and film language to refer to key scenes (mise-en- scene/framing/lighting/sound etc)
• Give a ‘personal response’ (ie: for me/ I believe/in my opinion/the second time I watched it/with further viewing)

Task 1:
Look at the examples of past paper questions (handout) and practise ‘unpicking’ them.
Use bullet points to indicate a structure for an essay response.

Work in groups to produce a structure for your response using bullet points.

Q.‘Popular films are a combination of the predictable and the unexpected.’ Use this statement as the starting point for a discussion of some of the particular spectator pleasures offered by the films you have studied for this topic. [35] 

Q.With reference to the films you have studied for this topic, explore some of the techniques that
are particularly powerful in producing an emotional response in the spectator. [35]

____________________________________________________________

Presentations. 

Before the Easter break you are to produce a presentation which is to be delivered to me

before March 29th.Your presentation can be a Powerpoint of between 6 and 12 slides. Include notes.

The presentation is an outline of a response to the following:

15. Discuss some of the ways in which key dramatic sequences in your chosen films are designed to produce an emotional response in the spectator. [35]

This is what you need to show:

• A very good understanding and appreciation of the films chosen for this topic, in particular the way key dramatic sequences are constructed. 
• A very good appreciation of how key dramatic sequences are designed to produce an emotional response in the spectator. 
• A very good exploratory response using detailed examples carefully applied to spectatorship. 
• (The very best candidates) … will bring a particularly sophisticated understanding and appreciation of the potentially different ways in which key dramatic sequences produce an emotional response in the spectator. 

_________________________________________________________

Spectatorship Theories applied to case studies

Example exam question:

16. With reference to the films you have studied for this topic, explore some of the techniques that

are particularly powerful in producing an emotional response in the spectator. [35]

What is emotion? 

As we watch films we can each experience fear, and pleasure, and desire, and surprise, and shock and a whole array of possible emotions, but we will not all experience these emotions equally at the same moments in a film.

What is it that determines our individual response in particular emotional ways at certain points in certain films? 

Think carefully about this but don’t worry about a right answer, this is the debate. 

Your job is to recognise that there is an intense interaction with the sounds and images occurring
 as we watch films. 
Also that film-makers are deliberately setting out to create emotional responses.

Spectatorship theories are based on the belief that film is an affective medium – that spectators are affected by watching films

The nature of that affect can be:

•Short term (the length of the film)
•Medium term (a few hours or days after the film)
•Long term (years after the film)

The nature of that affect can also be psychological, intellectual, emotional or physical, for example …

• Psychological – embedded in the subconscious in ways that might drive behaviour at a later date
• Intellectual – providing knowledge and information
• Emotional – generating feelings, like sadness or happiness
• Physical – causing physiological responses such as crying or laughing

Film was designed to be a powerfully affective medium – especially through the development of continuity editing which persuaded audiences to suspend disbelief when watching a film and accept fantasy as reality.

If we accept that film is an affective medium with the power to affect our emotions then we need to consider the ways in which it does that:

•Director Intentions - 
NBK-To make us more sensitized to the violence in our everyday lives so that we might question its validity.
CoG-The cyclical nature of life in the Favelas.
TCG-A message of tolerance.

•Star Performance - Subtext. How does the actor deliver their lines?
Gesture, Blocking (staging/movement of actor), Movement, Body language, 

•Narrative Structure - Linear / Non linear / 

•Film Language - Macro: Genre/Narrative/Rep, - Micro: Camera/Lighting/Mise-en scene etc

•Historical/Political/Social Context - What issues is the filmmaker dealing with?

Task 1:
Using the handout provided, indicate the ways that audiences' emotions have been affected by the three case studies.

Task 2:
Complete the knowledge assessment.

Popular Film and Emotional Response. Students as individual spectators

Students as individual spectators

Example exam question:

15. How far do spectators respond to the emotional content of films in the way that the filmmakers intended? [35]

Starter: Make notes on the whiteboards. 
Why do you think it makes sense for filmmakers to try to appeal to the intellect and the emotions of the film spectator?

This study is concerned with the ways in which popular film (whether deriving from Hollywood or elsewhere) produces powerful sensory and emotional responses in the spectator. It is possible to focus on a particular genre – such as horror and consider shock effects – or the melodrama as ‘weepie’. Alternatively, the focus may be on spectacle, whether relating to the body of the star or the staging/choreography of action. This topic is  not concerned specifically with issues of representation or value judgements but rather with developing understanding about how films create the emotional responses they do.  It is expected that a minimum of two feature-length films will be studied for this topic.

Popular film and emotional response 

Task 1: Write down one sequence from City of God that you had an emotional response to.


Task 2: Write down one sequence from Natural Born Killers. that you had an emotional response to.


Task 3: Write down one sequence from The Crying Game that you had an emotional response to.

An alternative definition of emotion is a "positive or negative experience that is associated with a particular pattern of physiological activity.“

Task 4: In your groups, discuss and then record (individually) what main kinds of emotions you think can be felt by film spectators – feed back to the class.

Task 5: HOMEWORK.

On the handout provided, indicate why you may have responded emotionally to the extract of each film. Consider style/language/Narrative/Performance.

Natural Born Killers - Filmmakers intentiions

The message of Natural Born Killers is not that violence is engendered by the system or even that violence is inherent in the system, but that violence IS the system. In such a society where violence is the stock and trade, natural born killers rise to the top. In fact, they are destined to rule as royalty, natural born.

The message of NBK is clear. So clear that we focus our attention upon it, just as we watch a magician's right hand while his left is palming the ball. Virtually all the media talk in articles and reviews has been riveted to the issue of violence. Meanwhile, Oliver Stone is performing his magic behind the smoke and mirrors. His intent? To make us more sensitized to the violence in our everyday lives so that we might question its validity. His method? A brilliant form of propaganda.

Starter:

List the main characters and define their roles in the film Natural Born Killers.

https://en.wikipedia.org/wiki/List_of_Natural_Born_Killers_characters


Task 1: 
Watch the key scenes of NBK and list how the occasions of narrative shock have been constructed.
Consider; Settings, costumes/props, sound, camera angles/movement, editing, body language, connotations.

Section B Popular Film and Emotional Response - Natural Born Killers

• Watch Natural Born Killers and note occasions of shock, visceral, narrative and political

What exactly is emotion, or emotional response?

A moving of the mind or soul; excitement of the feelings, whether pleasing or painful; disturbance or agitation of mind caused by specific exciting cause and manifested by some sensible effect on the body.

_____________________________________________________________

Shocking could be defined in three ways:

1. Visceral shock (often sex and/or violence)

2. Narrative shock unexpected ‘turn’ of the plot – e.g. Marion Crane’s demise in Psycho.

3. Political shock (a subversive message).

Starter:

List occasions of the three types of shock from the two films we have looked at already;

The Crying Game and City of God.

Task 1:

Watch Natural Born Killers and note occasions of shock, visceral, narrative and political.

_____________________________________________________________

“Films have to be subversive in order for them to be any good, because they force you to look for and ask hard questions that don’t have simple and easily defined answers.” - Oliver Stone

Useful links to Oliver Stone articles:

https://www.theguardian.com/film/2010/jul/18/oliver-stone-chavez-wall-street

https://www.theguardian.com/film/oliver-stone

_____________________________________________________________

Oliver Stone

Oliver Stone loves his country, but he is also its loudest critic. Whether tackling history head-on in films like "Platoon" or "Born On The Fourth Of July," or profiling presidents in "JFK," "W." and "Nixon," and even in seemingly genre-centered material like "Natural Born Killers" or "Any Given Sunday," Stone views America in his own unique, if sometimes contradictory ways. His track record is certainly marked by tremendous highs, definite lows and curious middles (mostly with genre excursions like "U-Turn," "Any Given Sunday" and "The Doors") but he is never one to sit still. For evidence of Stone's constantly changing priorities one can look to his last few films — "World Trade Center," "W.," "Wall Street: Money Never Sleeps" — and truly get a sense of a director driven both by passion and finance, and by a love for his country that is also pained by its failings.

As much to his detriment as it is to his advantage, Stone remains one of the most unique and vocal voices among working American filmmakers. While his output might be uneven, his films are hardly ever boring. Often experimenting with different lenses, film stock, techniques and camera angles, Stone continually finds new ways to shape and tell his stories.

Natural Born Killers is a 1994 American satirical crime film directed by Oliver Stone and starring Woody Harrelson, Juliette Lewis, Robert Downey Jr., Tom Sizemore, and Tommy Lee Jones.

The film was released in the United States on August 26, 1994.

It tells the story of two victims of traumatic childhoods who became lovers and mass murderers, and are irresponsibly glorified by the mass media.

_____________________________________________________________

NATURAL BORN KILLERS is about the media’s ever-growing coverage of the crimescape that pummels our daily lives and establish vile and deplorable people that commit random acts of brutal violence in the same reverence as pop stars. The film never panders to its audience; it makes them think constructively and critically at its subject. It screams out, “Ok, you see the obvious physical violence in the piece, but what’s the tertiary levels of the film? What else is it about?”

It’s about how the modern media has ostensibly de-sorted our value system where we have become desensitized to the point of boredom. We are so inundated by endless channels that broadcast much of the same sensationalist and seedy coverage that we’ve become a nation of drones that hungrily feed off it. All the channels on the various networks are scarily the same and there is a haunting conformity that is paralyzing and governing our daily lives.

Stone’s film is a sarcastic, chaotic, energetic, and impassioned riot and revolt versus this media system. To him and NATURAL BORN KILLERS, the real criminals are not the killers, but the media and media state – they are the modern enemy and the subversive message that is buried beneath at the core is that WE are the problem.

The film is based on an original screenplay by Quentin Tarantino that was heavily revised by writer David Veloz, associate producer Richard Rutowski, and director Stone; Tarantino received story credit. 

The film was released theatrically on August 26, 1994 in the United States, February 24, 1995 and premiered on Venice Film Festival on August 29, 1994. 

The film was a box office success, grossing over $50 million against a production budget of $34 million, and received generally mixed to positive reviews, who praised the cast's performances, the movie's humor, plot, and combination of action and romance, but found the film much too violent and graphic. 

Notorious for its violent content and inspiring "copycat" crimes, the film was named the eighth most controversial film in history by Entertainment Weekly in 2006.

________________________________________________________________

Reasons for Use of Shock in Natural Born Killers

Consider

‘However obvious the techniques used, the spectator will nearly always surrender to the
manipulation of their emotions by the filmmaker.’ Discuss how far this is true with reference to
the films you have studied for this topic.


Natural Born Killers (Oliver Stone, 1994) is a film which has only just been given a BBFC certificate (18, and it passed uncut) after having been refused a certificate on VHS or DVD release for almost 10 years. The film details the love between two victims of traumatic childhoods, who are also psychopathic serial killers.


How does a film text aim to generate emotional response?
(The 5 modes of engagement below are often inter-woven.)


Through its use of micro and macro elements. (These underpin all textual constructions).
Through viewer identification with a particular character or life event.
Through discussions of contentious issues, events or themes. (These could include drawing on historical events).
Through challenging the viewer’s assumptions or confirming their world view. Through shocking the viewer, exciting them, angering them, manipulating them or making them cry.


Within the study of Spectatorship:

The relationship between the text and the viewer is complex.

There exists a plurality of readings and subjectivity of response.

The viewer enters into a discourse with the text they are viewing.

The viewer’s ‘reading’ of a text could be preferred, negotiated or oppositional (Stuart Hall).


Key Questions within the spectatorship debate

• Is the emotional impact of a film influenced by contextual or pre-existing knowledge?

Consider:
The film might be based on true events.
‘Word of mouth’, critical and popular criticism might influence expectations.
Knowledge of the director, stars or genre could influence viewer response.
Knowledge of an original text eg. the book that inspired the film, could set up expectations.

______________________________________________________________________

Natural Born Killers
Canted angles, opera music when the knife is thrown, shifts from black and white to colour all help to present a stylised sequence that seems surreal or cartoon.

The ‘rednecks’ are clearly presented as the antagonists.

They crush a scorpion with their truck.

There is a dead stag strapped to the truck.

Their language is misogynistic. “That’s some sweet piece of meat, aint it?” “I call it pussy.” The romance sequence with La Vie en Rose as the soundtrack invites us to view Mickey and Malory in a softer light.

City of God Analysis of Micro elements in key scenes

Consider the relationship between the film on the screen and the audience in terms of a communication process.

Consider the use of mise-en-scene, performance, cinematography, editing and sound in order to draw an emotional response from the audience.

Storyline

Brazil, 1960s, City of God. The Tender Trio robs motels and gas trucks. Younger kids watch and learn well...too well. 1970s: Li'l Zé has prospered very well and owns the city. He causes violence and fear as he wipes out rival gangs without mercy. His best friend Bené is the only one to keep him on the good side of sanity. Rocket has watched these two gain power for years, and he wants no part of it. Yet he keeps getting swept up in the madness. All he wants to do is take pictures. 1980s: Things are out of control between the last two remaining gangs...will it ever end? Welcome to the City of God.

Key Scenes:

Opening Scene: This scene establishes the setting of the film, through the use of fast-paced editing, mise en scene, cinematography and sound

Mise en scene:

• the scene opens set in the favelas, with high contrast lighting.
• The use of lighting allows the audience to focus on the culture within Rio which is being represented in the film.
• There is a series of sequences, where chickens are shown running around the favelas and being killed straight off the road, to sell. (highlights the poverty, used to make money, unhygenic etc).
• Lil Ze is also introudced within the opening scene, as quite dominant. He stands out in terms of his costume and appearance, which denotes his dominance in comparison to others in the favelas.

Sound:

• helps to establish the Brazillian culture.
• Lots of diegetic sound is used, such as the noise of the traffic, and the clashing of the knives, which are used to kill the chickens. This symbolises the threat posed on innocent people and animals, from the outset. (creates a chaotic environment)
• Sound is used towards the end of the opening sequence to connote a more serious tone, as Lil Ze is introduced. The use of sound is reduced, as Lil Ze is shouting out to Rocket. This helps to create binary between the poor and powerful.

Cinematography:

• Extreme close ups are used to reinforce the deprivation (poverty). Close ups used on the knives also portrays the theme of power.
• The use of camerawork also involves a dutch tilt, used to create an increased sense of disorientation within the favelas.

Editing:

• Cross cutting is used to show a lack of control within the favelas. Each sequence cuts at a fast pace, which creates a contrast between controlled and civilised areas.
• Absence of CGI/Special Effects increases the raw feeling and increases verisimilitude.

Beach Scene  28

Mise en scene:

• Isolated setting, open beach space, contrasts from other scenes, where crowded areas are shown. Suggests a light relief from the pressure and constraints within the favelas. Reinforces danger in the favelas
• Drug taking is a norm – poverty

Cinematography:

• Continuous shots of Anjelica, shows the objectification of women. Not many significant female characters.
• Close ups of Rocket and camera. Focus on happy facial expressions- his escape from the favelas is his passion for photography

‘Shall I shoot you in the hand or foot’ Scene50

Mise en scene:

• Crowded area, little ‘runts’ are sat around in a shack, sat like a gang
• Little runts have weapons, such as screwdrivers, break conventions of a traditional childhood, they want to appear dangerous etc
• Lil Ze and his dominant gang, stand out through the use of costume. Dressed in bright shirts and chains etc, contrasts with the runts who are in clothes which are torn etc. Emphasis on poor and powerful
• Lil Ze has a gun – more superior, poses a threat to all those within the favelas

Sound:

• Dialogue – talking about robbery and taking over the superior position within the favelas
• Gunshot – emphasises the danger of the favelas etc
• Diegetic sounds of children crying out in fear – reinforces the harsh reality of punishment

Cinematography:

• Low angles of the runts, which signifies their weakness and inferiority.
• Close ups on runts, costume, reinforces poverty, lack of power etc

Apartment Scene 30

Mise en scene:

• The scene starts with a warm, homely atmosphere, feminine, pink walls etc (Dona Zelia)
• When Big Boy takes over, the femininity is abandoned, more yellow, nude women are pictured on the wall – objectifying women
• Carrot is employed – damp on walls, drugs are a central focus

Sound:

• Heterodigetic narration from Rocket throughout

Cinematography:

• fixed wide lens throughout

Editing:

• dissolves in and out, emphasis on time period (over decades)
• power has changed within the favelas 

Bene’s Club Farewell Scene

Mise en scene:

• graffitti on walls – poverty
• broken glass bottles
• Blacky has a gun, suggests his power?
• Lil Ze sees Bene giving Rocket a camera, lashes out in jealousy. (does Rocket having the camera suggest he will have a sense of power/wealth over Lil Ze)

Cinematography:

• Wide angle lens, outsiders view on Lil Ze terrorising Knockout Ned
• Close ups on Ned, shows his inferiority
• When Rocket is shoved to the ground, there is use of a high angle, this shows how he is being looked down on. He is inferior to Lil Ze, a close up is also used to emphasise his facial expressions

Sound

• Diegetic Sound – club hubub
• Diegetic Sounds of Lil Ze screaming and demading – reinforces his power
• Arguing dialogue of Bene trying to get the camera back for Rocket, which higlights the theme of conflict within the narrative

Editing

• Fast cuts of shots, which are used to build tension
• Disorientated camera pans, which builds suspense, as we occasionally see Blacky hidden within the crowds of the club
• Used to create binary of poor and powerful 

Rape Scene

Mise en scene:

• Low key lighting is used
• A dark setting, with all gang members dressed in dark clothing
• Lil Ze stands out as he is shown in brighter lighting

Cinematography

• close ups on Ned’s face emphasise his powerlessness and helplessness
• low angles of Ned, shows he is of little power, increases his vulnerability
• birds eye camera, looking down on the gang, builds dramatic tension

Sound

• diegetic sound is used in order to increase the verisimilitude of the scene
• Ned’s girlfriend crying out, reinforces her weakness and powerlessness to Ze’s controlling nature
• Ze’s laughing sounds create a harsh reality of the suffering which Ned’s girlfriend is having to endure

Editing

• black outs in between scenes, reinforces the disorientation and chaos.