Own version of "Zammo Busted" with Analysis/ Explanation

Analysis/ Explanation
When we created the clip, we wanted it to be practically the same as the original, so we did as complete a shot-to-shot copy as we could.   We wanted to keep many of the same themes as the original clip- the idea of stupidity being valued over maturity in the younger generation, as well as the problems of drugs and girls being less valued than boys.

Although we weren't able to recreate the entire clip, we still managed to do a large majority of the clip and still included many important parts.   For example, in the establishing shot, Jackie (played by me) is behind Kevin (played by Andrei).   This implies that girls are less important than boys in the younger generation from the beginning, since Jackie is behind Kev and Kev and Zammo are the ones who speak.   This is also seen in the idea that Kev feels he has to protect Jackie from Zammo later on when he starts attacking her, trying to get his calculator, or in this clip Media Studies book, back.   However, the idea of Kev trying to protect someone could just be a further development of his maturity as a character- he feels it is his duty to protect his friend.   We could also see the whole representation of Jackie as being one to demonstrate that girls are not violent or confrontational.

Zammo is the protagonist of the clip, and I feel Hamzah did an excellent job of portraying Zammo as they way I felt he should of been portrayed.   Though perhaps unintentional on Hamza's part, and despite Zammo's violence, Zammo does become a character we pity.   Although his friends are trying to do what's best of him, through the use of the chair to divide them, it can come across as Jackie and Kev are ganging up on Zammo as it is two against one.   This further enforces the idea that even if Zammo wasn't guilty, people would still blame him for things that weren't his fault.   Hamzah's portrayal of the character does invoke pity, due to the fact that he genuinely seems upset at moments that his friends think so badly of him, even though he has done wrong.

Overall, I think we did quite a good job at recreating the clip, despite the fact we didn't finish it.   Some of the shots positioning could have been improved, but overall, the clip is quite similar to the original.

Reverse Storyboard and Script of Zammo Busted

Storyboard

Reverse Storyboard of Zammo Busted from meghanmooreg321

Basic Script:

Kev: Think you got summin’ to tell us Zammo

Zammo: Cor, thought you two had summin to tell me

Kev: Alright, I will. There’s two coppers in McKlusker’s office and guess who they’ve come to see

Zammo: Me. How’d you know?

Jackie: Cos your mum called ‘em

Zammo: What for?

Jackie: Cos of her cash card going missing

Zammo: And everyone thinks it’s me who’s nicked it

Kev: You were seen using it Zammo

Zammo: By who?

Kev: That ain’t important

Zammo: Yeah, any old toe-rag could say they seen me with a cash card. And everyone assumes I’m on the street buying drugs. Everyone takes it for granted that I’m the one who’s lying. My Mum calling the law. And you after all I told you this morning. And you don’t believe me either do ya?  My best mate. Well ‘ere.

(Pours out his bag)

See how much heroine you could find among that lot. Satisfied? Or do you want me to strip right off.

(Jackie picks up calculator)

Zammo: Oi.

Zammo: Don’t fiddle with that it’s broken.

Jackie: So what harm can I do?

Zammo: Yeah, well just don’t fiddle with it, alright?

Jackie: What you bring it for anyway, we got history this afternoon not maths

Zammo: Well just get your hands off it.

Kev: Alright leave it Zammo

Zammo: Out the way Kev

Kev: Calm down

Zammo: I won’t tell you again, move

Move I said

(Kev and Zammo fight)

Jackie: Kevin! Zammo!

(Kev gets punched)

Jackie: No

Zammo: Just give it, we’re not playing games now alright?

Jackie: Oh yeah and that’s what it was this morning, a game.   She was proud of you taking heroine.  This is the real thing isn’t it. Don’t tell me I’m wrong

Zammo: Just give it to me alright

Jackie: But why, you’re off drugs now, you proved it to me, remember?

(Pushes Jackie on the floor)

Grange Hill Drugs Scene- Zammo Busted

Grange Hill- Zammo Busted

End- 1:21

A short analysis of age in “Zammo Busted”

Micro features are very important in the creation of a scene in TV drama and are used for many different reasons, especially when it comes to conveying a representational issue.   Sound can be used to demonstrate how a character feels in a scene.   Mise-en-scene can be used to demonstrate a character’s identity.   Lighting can also give us an idea of how the character feels without the use of dialogue.   The use of different camera angles and movements can demonstrate to the audience the character’s motivation.   In this scene of Grange Hill we can see the problems of age, and how even at a young age drugs can be a problem.   Margie Barbour makes the locker scene where the issue of age in regards to drugs is tackled.

We begin the scene with a mid-long shot.   The lighting is natural in regards to a locker room, and the children are in school uniforms.   We can assume that they are portraying characters that are about sixteen.   There is only diegetic sound, with the three talking to each other, as well as bags hitting chairs and footsteps.   Zammo, who is the protagonist of the scene, sits down onto a bench, facing away from the people speaking to him as he opens his bag.   Through this body language, we could assume that these people are not his friends, but at least people he knows.   However, from the way that they are speaking to him, they seem to be his friends.   This demonstrates that there is some conflict going on between them, which is stereotypical among friends of all age groups, but especially children at school.   Since Kevin, the other boy, is speaking in a calm way, this could demonstrate that they are afraid of him and that he might do something rash.   We see this later on in the scene, where Zammo ends up punching Kevin in the face.  Since Zammo is sitting, and Kevin is standing above him, as well as the fact that Kevin is speaking much more calmly, Kevin comes across as much more mature than Zammo and also above him, both literally and metaphorically.   Although they are the same age and friends, Kevin comes across as passive and yet older in the way he acts, which from the way they are standing gives the impression that Kevin is in charge of Zammo.   However, from the way Zammo talks back to Kevin, saying, “I thought you two had something to tell me”, makes it seem that Zammo is the one in charge despite being immature.   This is once again a stereotype of school behaviour- people who are more immature are seen as “cooler” characters and therefore are at the top of the hierarchy, whereas people who are more mature are seen as boring and are therefore further down the hierarchy.   Jackie, the girl, is yet to even speak and is hardly shown on the camera in this shot, with Zammo and Kevin taking up most of the frame which highlights that as she is a young girl, she is seen as less important than the boys.

When Zammo hears the news that there are police officers in the headmaster’s office and he realises that they are for him, he stands up.   We cut to a mid-close up of his face; it is a reaction shot so that we can see the panic in his face.   We can hear the sadness and defeat in his voice, and this makes him come across as younger and much more innocent, as youth is often connoted with innocence.   This makes it seem like he is innocent of what he has done- he is the one who is taking heroine, and yet from the way he says “Me” it seems like he is both admitting that it is his fault, and also saying that it isn’t.   We feel pity for Zammo because he is so young and we know only bad things can come from him doing drugs, and the fact that the police are there demonstrates he is going to be in a lot of trouble.   To his friends, Zammo truly seems like he is no longer doing heroine, which is what they believe.   Due to the fact that we later see him with heroine, this could also demonstrate how young people are compulsive liars and good at it.

When Jackie picks up the calculator, there is a close up of her hand.   This highlights that this is important and a pivotal event as this will be the point where she finds out Zammo has been lying to her.   In a similar way, Zammo and Kevin frame Jackie in a mid-close up when she takes the heroine out of the calculator.   Although we do not get a reaction shot of Jackie when she discovers the heroine, we can still see her face.   She seems shocked and upset, which demonstrates once again the stereotypical innocence of youth.   She can’t believe that Zammo lied to her even though we can assume that, as someone who is taking drugs, he is a liar.   The fact that she believes that he wouldn’t lie to her demonstrates her innocence and how gullible she is.

In Zammo busted there are lots of important things raised regarding age.   For example, we see the problems that can arise in friendship groups and how immaturity is prized over maturity.   We can also see the innocence of children represented through Zammo but also why to be suspicious of them.   We also see innocence represented through Jackie as we see her realise how her friend has lied to her about something so important.

"Amy Brings Drugs To School" Reverse Storyboard

Amy Brings In Drugs- Waterloo Road clip from meghanmooreg321

Film Vocabulary- Mise-en-Scène (Light and Colour Design)

Mise-en-Scène (Light and Colour Design)
Light designers will be on a set to help with the lighting of shots and the decisions to do with colour.   Although coloured lights are more often used in theatre, they may be used in film.   When working with colour, this will also be the decision of whether to make a shot light, dark or greyscale, as well as many other colours, all to create meaning.

Film Vocabulary- Mise-en-Scène (Production Design)

Mise-en-Scène (Production Design)
Location- a place where some or all of a film or television series is produced, in addition to or instead of using sets constructed on a movie studio backlot or soundstage

Studio- a major entertainment company or motion picture company that has its own privately owned studio facility or facilities that are used to make films, which is handled by the production company.   Studio premises generally feature multiple sound stages along with an outside backlot, as well as offices for studio executives and production companies. There is normally a studio "commissary", which is the traditional term in the film industry for what other industries call a company cafeteria

Set design- the creation of film or television scenery

Costume- a set of clothes in a style typical of a particular country or historical period

Make-up- cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance.   In a film or TV company, this may also be the use of prosthetics etc. to change the face completely but this will also link in to the VFX department

Properties- a property, commonly shortened to prop (plural: props), is an object used on stage or on screen by actors during a performance or screen production. In practical terms, a prop is considered to be anything movable or portable on a stage or a set, distinct from the actors, scenery, costumes and electrical equipment. Consumable food items appearing in the production are also considered properties

Film Vocabulary- Sound (Part Two)

Soundtrack
Soundtrack- music accompanying a TV show or film. Not necessarily written for the film itself.

Score- original music written specifically to accompany a film. Usually instrumental but sometimes has singers (for example, the Bond title track "The Writing's On The Wall" was written specifically for Spectre)

Incidental Music-  music in a play, television program, radio program, video game, film, or some other presentation form that is not primarily musical. The term is less frequently applied to film music, with such music being referred to instead as the "film score" or "soundtrack".   Incidental music is often "background" music, and is intended to add atmosphere to the action

Themes- a musical cue that will represent the film from then on



Stings- short bursts of music used in radio or TV shows to bump together different sections or chapters

Ambient Sound- background noise such as people talking

Film Vocabulary- Sound (Part 1)

Sound (Part 1)
Diegetic Sound- sound whose source is visible on the screen or whose source is implied to be present by the action of the film:  

• voices of characters 
• sounds made by objects in the story 
• music represented as coming from instruments or the radio etc. in the story space ( = source music)

Non-diegetic Sound- sound whose source is neither visible on the screen nor has been implied to be present in the action:  

• narrator's commentary
• sound effects which is added for the dramatic effect
• mood music

Synchronous Sound- sound that is matched to certain movements that are occurring in the scene e.g. when footsteps correspond to feet walking

Asynchronous Sound- sounds match the action happening on the scene, however it is not precisely synchronised

Sound Effects- a sound other than speech or music made artificially for use in a play, film, or other broadcast production (for example, the wilhelm scream)



Sound Motif- a sound that has symbolic significance and contributes toward the development of theme.   It will usually be a sound associated with a character or place.


Sound Bridge- when the scene begins with the carry-over sound from the previous scene before the new sound begins



Dialogue- speech between characters

Voiceover- speech that is non-diegetic and an be heard over the action

Mode of Address- ways in which relations between adressers and addressees are demonstrated through sound.   The manner in which the narrative comes across to the audience.   This includes the style of language

Direct Address- this is also known as breaking the fourth wall, or breaking verisimilitude (the appearance of a film being true or real), when an actor will speak directly to the audience

Sound Mixing- the process during the post-production stage of a film or a television program in which the collection of recorded sounds are combined into one or more channels along with adjusting the many attributes of the sounds such as the source signals’ level

Sound Perspective- a sound’s position in space as perceived by the viewer given by volume, timbre, and pitch

Film Vocabulary- Editing via other means

Editing via other means

Dissolve- a gradual transition from one shot to another.  Not the same as a fade in or fade out

Fade in- a gradual transition from a blank screen to an image/ shot

Fade out- a gradual transition from an image/shot to a blank screen, usually black or white in colour

Wipe- A wipe is a type of film transition where one shot replaces another by travelling from one side of the frame to another or with a special shape. If the wipe proceeds from two opposite edges of the screen toward the center or vice versa, it is known as a barn door wipe (named for its similarity to a pair of doors opening or closing).   There are lots of different types of wipe including: iris slow, star wipe, heart wipe, matrix wipe and many more

Superimposition- the placement of an image or video on top of an already-existing image or video, usually to add to the overall image effect, but also sometimes to conceal something (such as when a different face is superimposed over the original face in a photograph)

Long take- uninterrupted shot in a film which lasts much longer than the conventional editing pace either of the film itself or of films in general, usually lasting several minutes. Long takes are often accomplished through the use of a dolly shot or Steadicam shot

Short take- scenes that are no more than five seconds long are considered a short take

Fast motion- action that appears to move faster than normal on the screen, accomplished by filming the action at less than normal speed in the camera and then projecting it at normal speed

Ellipsis- the omission of a section of the story that is either obvious enough for the public to fill in or concealed for a narrative purpose, such as suspense or mystery

Expansion of time-you are making the duration of the video sequence longer than real-time.   Some example of how to do this are slow motion and many different angles, all showing the same thing

Post-production- Post-production is many different processes grouped under one name. These typically include:

• Video editing the picture of a television program using an edit decision list (EDL)
• Writing, (re)recording, and editing the soundtrack.
• Adding visual special effects - mainly computer-generated imagery (CGI) and digital copy from which release prints will be made (although this may be made obsolete by digital-cinema technologies).
• Sound design, Sound effects, ADR, Foley and Music, culminating in a process known as sound re-recording or mixing with professional audio equipment.
• Transfer of Color motion picture film to Video or DPX with a telecine and color grading (correction) in a color suite

Visual effects- the processes by which imagery is created and/or manipulated outside the context of a live action shot. Visual effects involve the integration of live-action footage and computer generated imagery to create environments which look realistic, but would be dangerous, expensive, impractical, or simply impossible to capture on film   

Film Vocabulary- Editing via cutting

Editing via Cutting



Continuity- the predominant style of film editing and video editing in the post-production process of filmmaking of narrative films and television programs. The purpose of continuity editing is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots
Non-continuity- when shots are mismatched to disrupt linear time and space. This will often confuse or disturb the illusion of ‘reality’ on the screen by drawing attention to the process of cutting
Shot/reverse shot- one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other

Eyeline match- the eyeline match begins with a character looking at something off-screen, followed by a cut to the object or person at which he is looking. For example, a shot showing a man looking off-screen to the left is followed by a shot of the television that he is watching

Graphic match- is a cut in film editing between either two different objects, two different spaces, or two different compositions in which objects in the two shots graphically match, often helping to establish a strong continuity of action and linking the two shots metaphorically

Action match- the editor cuts from one shot to another view that matches the first shot's action.

A common example is a man walking up to a door and reaching for the knob. Just as his hand touches the knob the scene cuts to a shot of the door opening from the other side.

Jump cut- two different camera angles, or shots, of the same subject edited together. The subject is not in the same position as in the previous shot, so they appear to have jumped. This can disrupt linear time, as it will appear like there is a period of time missing between the two shots

Crosscutting/ Parallel Editing- cutting between various shots of action in different settings/locations, creating the effect that they are happening at the same time. This is often used to create suspense

Cutaway- the interruption of a continuously filmed action by inserting a view of something else. It is usually, although not always, followed by a cut back to the first shot, when the cutaway avoids a jump cut


Insert- a shot of part of a scene as filmed from a different angle and/or focal length from the master shot. Inserts cover action already covered in the master shot, but emphasize a different aspect of that action due to the different framing

Film Vocabulary- Camera Composition

Camera Composition
Framing- the presentation of visual elements in an image, especially the placement of the subject in relation to other objects

Rule of Thirds-The rule divides the frame into nine sections.   Points or lines of interest should occur at 1/3 or 2/3 of the way up or across the frame, rather than in the centre

Depth of Field-the amount of distance between the nearest and farthest objects that appear in acceptably sharp focus in a photograph

Deep Focus- a technique using a large depth of field.   In deep focus the foreground, middle ground and background are all in focus

Shallow Focus- in shallow focus, one plane of the image is in focus while the rest is out of focus.   It is typically used to emphasise one thing over another

Focus Pulls- this is where you change focus during the shot

MARV Film Studios Logo

MARV Film Studios Logo

This is the newest version of the MARV logo and is reminiscent of Isihara Tests which are used to check for red- green colour deficiencies.   The use of it in the logo could be demonstrating the idea that you need to look for hidden things within the films.  It also demonstrates the large amount of anonymity that the company has due to it being a generally small company.   It is a symbolic signifier and signifies the company.

Marvel Studios Logo

Marvel Studios Logo

Starting with the release of Spider-Man in 2002, Marvel Studios introduced its "flipbook" logo, created by Imaginary Forces. This logo was accompanied with music from the film's score, sound effects or a song, to lead into the beginning of the film. This was the logo seen in front of all films until 2013, when the logo was updated with the release of Thor: The Dark World, again created by Imaginary Forces. Kevin Feige stated that since Marvel was now their own entity within The Walt Disney Company, it "felt like the time to update it and have something that is more substantial as a standalone logo in front of our features" instead of having it be accompanied by Marvel's studio or distribution partners' logos. Feige added that “We didn’t want to re-invent the wheel [with the new logo], but we wanted it to feel bigger, to feel more substantial, which is why it starts with the flip, but suddenly it’s more dimensional as we go through the lettering and it reveals itself with the metallic sheen before settling into the white-on-red, well known Marvel logo, with the added flourish of the arrival and the announcement of the Studios at the bottom of the word Marvel.” Imaginary Forces used the same animation technique on the updated logo, as they did when they created the first version in 2002. They were given a few hundred comic books to select images from, ultimately choosing 120 that were "universal and not specific to one character" and created a narrative "where each image spoke to the one before it and after."

The new logo appears on all subsequent studio productions set within the Marvel Cinematic Universe. With the addition of the new logo, Marvel Studios also added a fanfare to accompany the logo, composed by Brian Tyler, who wrote the scores to Iron Man 3, Thor: The Dark World, and Avengers: Age of Ultron.

The logo is an iconic signifier of Marvel Studios and represents everything that they do.   By incorporating the Marvel comics logo into the design, it harkens back to the origins of their films and film studio.   The use of the smaller, spaced out "studio" the word Marvel seems more grand and our eyes are drawn to that.   This represents that Marvel is the most important part of the image.   The use of red connotes to ideas of passion such as the passion that these people have to their adaptations and films.   It also links to the idea of superheroes as red is a very strong colour.

Film Vocabulary- Camera Movement

Camera Movement

Pan- refers to the rotation of a camera horizontally (left and right) when it is on a vertical axis (a stand)

Tilt- refers to the rotation of a camera vertically (up and down)

Tracking shot/ Dolly shot- a shot in which the camera is mounted on a camera dolly, a wheeled platform that is pushed on rails while the picture is being taken; in this case the shot is also known as a dolly shot or trucking shot.  The term may also refer to any shot in which the camera follows a subject within the frame, such as a moving actor or a moving vehicle. When using the term tracking shot in this sense, the camera may be moved in ways not involving a camera dolly, such as via a Steadicam, via handheld camera operator, or by being panned on a tripod

Crane-a shot taken by a camera on a crane or jib

Hand-held- a camera is held in the camera operator's hands as opposed to being mounted on a tripod or other base.   They are often shakier than other shots because someone is holding the camera (THINK BLAIR WITCH)

Zoom- zooming in

Reverse zoom- zooming out

Steadicam- a brand of camera stabilizer mount for motion picture cameras that mechanically isolates it from the operator's movement. It allows for a smooth shot, even when moving quickly over an uneven surface.

Film Vocabulary- Camera Angles

Camera Angles
High Angle- the camera looks down on the subject from a high angle

Low Angle- the subject looks up from the subject from a low angle

Canted Angle/ Dutch Angle- a camera shot where the camera is set at an angle so that the shot is composed with vertical lines at an angle to the side of the frame