Dream

Question 1

Dizzee Rascal

Answer 1

Solo rap artist within the genre of garage/grime

Question 2

Dream single/album release

Answer 2

Released single as part of his second album ‘showtime’ in 2004

Question 3

Happy talks

Answer 3

Samples lines from happy talk, a single that was released in 1982 by Captain Sensible and originally featured in the musical South Pacific (a Broadway stage show in 1949.

Question 4

Director and production

Answer 4

directed by Dougal Wilson for the Colonel Blimp production company. Wilson is an award-winning director of commercials and music videos.

Question 5

Muffin the mule

Answer 5

Aired on the BBC from 1946 - 1955, presented by Annette Mills who sang and interacted with a puppet mule and other characters
on her grand piano. The programme was hugely successful, becoming the first children’s television programme to have its own merchandise.

Question 6

Child-like backdrop

Answer 6

Creates an innocent background which contrasts with The serious nature of the video expressing the ferocity off the issue’s presented

Question 7

Setting

Answer 7

Creates two worlds, first is in the 1950s sitting room and the streets

Question 8

Direct address

Answer 8

Dizzee uses direct address to communicate with the audience

Question 9

Props (4)

Answer 9

Childlike props 
Toy police cars 
Puppets 
Pastel coloured buildings 
Musical box

Question 10

Iconography through props

Answer 10

establishes a sense that the video is a fable with a clear moral message. This, coupled with the juxtaposition of the 1950s references, helps to distance the audience

Question 11

Technology

Answer 11

The video makes use of green screen

technologies to allow Dizzee Rascal to perform on the piano and interact with the puppet characters.

Question 12

Nostalgia

Answer 12

Creates a feeling of nostalgia for the audience through happy talk and the muffin and the mule

Question 13

Roland Barthes- semiotics

Answer 13

Many of the images illustrate the lyrics but connote deeper meanings in relation to the more abstract notion of working to achieve a ‘dream’.
The idea of ‘myth’ relates to the use of iconography such as the ‘hoodie’ which has become recognisable as a symbol of youthful rebellion.

Question 14

Levi-Strauss - structuralism

Binary oppositions

Answer 14

Many binary oppositions are evident, most prominently that of the young black male v older white female which reflects the idea of hierarchies of power in society.
The female is physically bigger than Dizzee Rascal, due to the difference in scale, and she shows disapproval of the anti-social behaviour and approval of the positive actions. Despite Dizzee’s success, she arguably retains the power as he gets back into the box at the end.

Question 15

1950s Britain

Answer 15

White middle class pianist reflects 1950s Britain when people in positions of power tended to belong to hegemonic social groups. 
Dream is also interesting to consider in the context of the post-war period in Britain when many people from the Caribbean, as well as from India and Pakistan, moved to Britain to work and British society was becoming more ethnically diverse as a result of this period of immigration.

Question 16

The Hoodie

Answer 16

Dream is also interesting to consider in the context of the early 2000s when it was released, in relation to concerns about antisocial behaviour amongst inner-city youths. The decision by Bluewater Shopping Centre in Kent to ban ‘hoodies’ in
2005 received widespread media coverage. ‘Hoodies’ have been worn by hip hop artists since the 1980s and have become to be associated with rebellion and antisocial behaviour.

Question 17

The pianist

Answer 17

The pianist is constructed as a stereotypical 1950s white, middle-aged, middle-class woman through the mise-en-scène
of her upright posture, formal jacket with large floral brooch and hair style.

Question 18

Dizzee Rascals character

Answer 18

Dizzee Rascal is constructed as a rebellious young black male through the dress codes of red tracksuit with a ‘hoodie’ top and trainers.

Question 19

Characters - Youths

Stereotypes

Answer 19

Youths are constructed as irresponsible and having no purpose in life – skateboarding, spraying graffiti, stealing the TV.

Question 20

Characters - Police

Stereotypes

Answer 20

The police officer is constructed as a brutal, baton-wielding white male, beating a youth in a style that references ‘Punch and Judy’.

Question 21

Characters - The Scots Character

Stereotypes

Answer 21

The Scots character (red hair, tartan) is constructed as a drunk with a lager bottle.

Question 22

Puppets attached to strings

Answer 22

The puppets are attached to strings, linking to the notion that this story is a fable, but also suggesting hierarchies of power and control – they are conforming to stereotypical, possibly pre-ordained roles. This raises questions about key issues in contemporary society such as crime, antisocial behaviour, underage sex etc. and how these can be tackled.

Question 23

Stuart Hall - Representation

Answer 23

The video deliberately constructs the puppet characters as stereotypes to exemplify the way in which these social groups are often represented
– and to demonstrate that these stereotypes can misrepresent individuals from these groups.

Question 24

Paul Gilroy - post colonialism

Answer 24

The construction of the white matriarchal children’s TV presenter and the young black male ‘rascal’ is interesting to explore in relation to postcolonial theory, especially in the social and historical context of the 1950s and increasing ethnic diversity in Britain.