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British Film Flashcards

1
Q

This is England - Combo’ speech

A

. Combo stood, everyone else sat - power
. Eye level + handheld cam as if we’re there
. Combo spits + gesticulates: violent, passion
. Cuts to characters on floor: disturbed/supportive
. Not everyone follows Woody at the end: new leader
. C is paternal to Shaun when he gets upset

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2
Q

This is England - Shop Attack

A

. Shaun walks/talks like Combo: emphasis on slurs
. Natural light + sound, can hear all the awful lang
. Racists aren’t attractive: cast unglamorous people
. Close up cuts between Combo + shopkeeper: threat
. Shopkeeper given dignity: holds eye contact, angry
. Racists immediately stupid: can’t spell ‘off’

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3
Q

This is England - Opening Sequence

A

. Pop culture from the 80s
. Real footage of Thatcher: v unflattering
. Context: miner’s strike, NF, skinheads fighting
. 54-46 was my number by Toots & the Maytals
. Moving shot of Northern estate: poor
. Establishing 80s, so nostalgic

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4
Q

This is England - End Sequence

A

. Real footage of men returning from Falklands War
. Footage of actual Falklands war, prisoners: grim
. Cyclical: Shaun alone again - wide shots
. Please, Please, Please, let me get what I want - Clayhill
. Chucks flag into water with anger: close up hand held
. Shaun looks at cam: sudden intrusion, challenging us

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5
Q

This is England - Shaun’s Establishing Sequence

A

. Establishing loneliness
. Wide shots of him and the empty space around him
. Normal, dull looking town: no fancy set: verisimilitude
. Desolate scenes, isolation
. Cam moves with him: his perspective
. Working class status, looking at stuff he can’t buy: bike

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6
Q

This is England - Combo Gate Crashes the Party

A

. Demonstrating impact Combo will have on group
. Long shot of room: cramped, confined space
. Close up of C as he speaks: animalistic intensity
. Cuts to liked characters being disgusted: anti-racist
. C’s voice fades out replaced by minor key piano
. What he says doesn’t matter, we know it’s bad

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7
Q

This is England - Todorov

A
  1. Shaun joins the gang
  2. Combo arrives
  3. Shaun joins Combo’s gang
  4. Shaun’s journey of learning
  5. Shaun rejects racism: downbeat new equilibrium
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8
Q

This is England - Propp

A 
Hero: Shaun
Villain: Combo
Donor: Woody
False Hero: Combo
Dispatcher: Combo
Helper: Shaun's mum
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9
Q

This is England - Levi Strauss

A 
Liberalism vs Nationalism
Woody vs Combo
Shaun vs Shaun (deep)
Young vs Old
Reality vs Nostalgia (unresolved)
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10
Q

This is England - Other Structural Techniques

A

. Linear and chronological: typical of social realist
. Open-ended: no clarity on other characters
. Privileged spectator status sometimes: see Lol’s rejection of Combo, but mainly Shaun’s perspective
. Montages used to develop Shaun: parallel montages of him in both gangs

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11
Q

This is England - Field

A

. Inciting Incident: Shaun joins Woody’s gang
. Plot Point 1: Combo arrives, Shaun joins his gang
. Mid point: Shaun is complicit with racism
. Plot Point 2: Lol rejects Combo
. Climax: Milky attacked. Shaun realises his mistakes

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12
Q

This is England - Ideology

A

. Anti - racist
. Left wing
. Comments on class system
. Indoctrination of the youth by radicals

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13
Q

This is England - Marxism

A

. Economic power builds society but also divides it, creating class divisions, bringing conflict and inequality
. Division between bourgeoisie and proletariat widened bc of Thatcher
. Conflict in This is England is a result of this
. Racism + rising violent skinhead culture are evidence
. Rejects individualist nature of Thatcherism: gangs

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14
Q

This is England - Representation

A

. Masculinity: gang members typically masc, not heroes, Woody + Milky more transgressive, all a bit hopeless
. Femininity: transgressive: Lol is the strongest character, stereotypical mother figure
. Class: Woody’s gang positively presented, loving stereotypical tough working class
. Youth: good rep of skinheads: welcoming, supportive
. Black and Asian: fleshed out characters, undefeated by Combo, not stereotyped

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15
Q

This is England - Production

A

. Independent social realist films: lots of funding needed
. Funded by: Warp Films, Big Arty Productions, EM Media, Film4, Optimum Releasing, Screen Yorkshire, and the UK Film Council
. Budget £1.5m Made approx. £6.6m since release
. BBFC rating 18, worried under 18s might see behaviour as attractive instead of offensive

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16
Q

Sightseers - Ian’s Death

A

. Season of the Witch by Vanilla Fudge
. Tina imagines dancing with Shamans: freedom?
. Chris in red coat: ‘Don’t Look Now’ dwarf
. Danger juxtaposed: egg crack vs Ian’s head crack
. Meant to seem crazy: black and white memories
. Chris looks at cam smirking at the end: we’re complicit

17
Q

Sightseers - Final Scene

A

. The Power of Love by Frankie Goes to Hollywood
. Slow mo long shots of running:faux romance
. Prolonged 2 shot staring at cam, challenging audience
. POV looking down - Chris jumps
. Music cuts as he hits the ground, all an act
. Arguably feminist ending: Tainted Love by Gloria Jones

18
Q

Sightseers - Stone Circle

A

. Handheld cam moving between Chris & man
. Narration: John Hurt English poem Jerusalem
. Darkly comedic class clash, ironic narration
. Picturesque idyllic nature vs violence and murder
. Chris’ primitive, animalistic nature. Both indifferent
. “Defending my honour” Tina understands

19
Q

Sightseers - Chris’ Nightmare

A

. Witchfinder General (1968) influence on Chris’ outfit
. Chris’ emotional turmoil about Tina gaining power
. Shadowy figures, misty woods: hammer horror
. Shots of Tina taken away by police - her ending?

20
Q

Sightseers - Todorov

A
  1. Chris and Tina go on holiday
  2. Chris kills the litterer
  3. Chris kills Ian, Tina accepts him
  4. Tina starts to kill
  5. Tina is independent
21
Q

Sightseers - Propp

A 
. The Hero: Tina
. The Villain: Chris/Tina's mum
. The Donor: Chris
. The Dispatcher: Chris
. The False Hero: Chris
22
Q

Sightseers - Field

A

. Inciting incident: Chris kills litterer
. Plot Point 1 : Chris kills Ian
. Midpoint: Chris kills posh man, Tina accepts him
. Plot Point 2: Tina kills bride to be
. Climax: Chris kills himself, Tina chooses to live

23
Q

Sightseers - Levi Strauss

A

. Working class vs Middle class
. Tina vs Chris
. Naivety vs Independence
. Tina vs Her mum

24
Q

Sightseers - Other Structural Features

A

. Linear: chronological, one flash back
. Open ended: don’t know what happens to Tina
. Privileged Spectator: see Tina’s mum at home
. Montages: employing music and slow mo. Murders

25
Q

Sightseers - Ideology

A 
. Feminism: Laura Mulvey and Liesbet van Zoonen argue that women are to be looked at/be passive in films, Tina goes against this: no female gaze with her
. the 'Left Behind': white working class who at a time of past industrial decline find themselves obsolete and ignored. 'Crisis of masculinity'
26
Q

Sightseers - Representation

A 
. Masculinity: 'left behind' character Chris. Stereotypical masc. Middle class men contrast with him
. Femininity: Tina is transgressive, no male gaze. Tina's mother typical comedic social realist construct/stereotypical working class elderly woman
27
Q

Sightseers - Production

A 
. Independent release.
. Funding from: StudioCanal, Film4, BFI, Big Talk Productions, Rook Films
. Budget of approx. £1.3m
. Made about £1.6m since release
. BBFC rating of 15
28
Q

Social Realist genre

A

. Niche, art house audiences rather than bigger ones
. Low budget, doc style aesthetic for ‘verisimilitude’
. Generally unknown actors
. Shot on location - regional settings
. Improv dialogue and dark humour
. Focus on narrative barriers faced by individuals
. Little/no non-diegetic music

29
Q

Black Comedy genre

A

. Makes light of taboo subject matter
. Used as a tool for exploring vulgar issues
. Provoke discomfort and serious thought as well as humour in the audience

30
Q

Formalism

A

The distinction between story (WHAT) and plot (HOW)

31
Q

Structuralism

A

How the structure affects our understanding and moves the plot along - eg binary opposites, linear structure, open ended, etc

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