CAMERAWORK IN CUFFS

Analyse how camerawork is used in the extract to create meaning. Refer to at least two examples from the extract in your answer. 


When the hippy with long dreadlocks is angrily protesting over her imprisonment is threatening the desk Sargent with her family relations there is a focus pull from the face of Ryan when he's saying 'We don't care what peoples parents do' to the face of a confused Jake, until he clocks what is happening and the comment made was a sly dig at him as his father is the chief constable. He acts un-phased until there is reaction shots from the other officers which show they are laughing at him, he is then soon after seen as hurt and angry.

When Jo is in the Chief super's office and asks if Chief Super Robert Vickers is around to meet later and he turns her down and pushes her away there is a point of view shot to the image of the Chief Super, his wife and son on the side of his desk. This was put in to remind the character of what he has at home, and that he doesn't need any women outside of home to please him and entertain him. 

Soon after coming out of the office after being rejected, there is a slow zoom into Moffat's face. Harsh lighting and the slow zoom present all her emotions, she looks, old, drained, upset, embarrassed and very disappointed. This makes the viewers side with the character and feel for her.

During the pursuit between the burglars and the officers, there is a birds eye view / crane shot, this shows the places in which they are dealing with to be very confusing with roads leading everywhere; it may also act as an establishing shot to whats ahead of the pursuit. It allows us to sympathize with the driver Ryan, their job must be very stressful and confusing especially with a rookie in the car next to them, stressing over instructions.

EXAM Q5

QUESTION 5: 'Explain how social contexts influence television programmes. Refer to The Avengers.'

In the episode ‘The Town of No Return’ of ‘The Avengers’ it is noticeable that the time in which it is  set massively contributes to what we see on screen. This is obvious when looking at their social interactions and activities they do. At the near beginning of the episode while Miss Peel and Steed are on their way to the Little Bazeley, the interaction between them and the gentleman who gets on the train seems shocking to an audience of 2017, this is as now days with the use of mobile phones and other electronics it’s rare that face to face interaction occurs especially in places like trains. Also during the train scene afternoon tea between Steed and Miss Peel happens, this is also very uncommon to the 21^st century.

The Avengers was one of the most iconic movement in woman’s history, with an independent and capable character of Miss Emma Peel, prior to all of this, it would be almost unheard of to have a heroine, let alone a strong dominant female character, despite women getting the vote in 1928. Her violence to the imposters at the end of series four must’ve shocked many viewers around the time it was aired and she defied many stereotypes of women around the world.

What is even more obvious about the social context is the dialect and costumes. The characters announce all their words perfectly, reflecting their social class as being very intellectual and respectful. All of the characters are well spoken and most are polite again portraying their social class well. Their sentences are very well formed in that they always make complete sense. The costumes are very formal, Steed is always dressed well, presenting himself as bright and trustworthy individual, ideal for his characters role and very suitable and fitting for the time that The Avengers is set in. The Avengers is set around 20 years after the war which is noticeable in the clothes they wear and again the way in which they speak.

The war is also evident to have been recently this is because of subtle references, such as the bricks which spell out; ‘piggy warren killed in action, 1942’ the war ended in 1945, and The Avengers first aired in 1961, the location of what appears to be a deserted air field also has hints of a War atmosphere. During the first night, when Steed and Miss Peel first turn up to the pub, there is small planes hanging by a thread. ‘Ah, the old 33, RAF fighting squadron stationed here during the war, airfield just outside the village’ announces Smallwood, showing he has a clear knowledge of the war, which again was very common around the time in which the series is set. The rubble of the airfield again presents the war as a recent event – which it technically was; only 20 years ago planes were having dogfights above us and we had troops fighting for our lives and safety.

The influence of all of these occurrences effect story lines and characters massively, whether it be the small props like decoration in a pub, interactions on a train or even day to day greetings or the dialect, accent or way they dress, they all effect the series in some way shape or form.

EXAM Q2

EXAM QUESTION 2; Analyse how far the extract depicts the polices point of view rather than the criminal's point of view. In your answer you must;

• analyse aspects of the extract using examples to support your analysis

• judge how far these aspects depict the polices' point of view.

In the beginning of the first episode of cuffs, there is a voice over, whilst PC Ryan Drapper is rushing about in a police car to a crime scene, a voice over of the Chief Constable states how their officers will be 'facing constant challenges' will have to 'remain calm and assertive' and will be 'always striving for conflict resolution'. The use of voice over enhances how hard working and dedicated the police officers are. As Drapper approaches the situation between the nudists and the stag do revellers, the video is put in slow motion, the effect this has on the audiences view of the officers is that it makes us respect them, and envision them as hard-core, tough individuals, but when we see the situation between the men on the naturist beach the scene is quickly make lighthearted to the viewers, this and the controversy between what is said on the voice-over makes the scene very entertaining, but also may confuse the viewer of what our viewpoint on the police force should be.

Another scene shows a frightened drug abuser a confident short tempered Jake and a calm and assertive Ryan, this scene clearly shows how the officers can adapt to whatever frame of mind they need to be in. When the drug addict is so edgy and scared, he threatens whoever is at the door -which appears to be the officers- with a blade, to this Jake - the inexperienced yet confident rookie, flares up and becomes aggressive, this is quickly stopped when Ryan - the well experienced policeman pulls him away from the door. He quickly forms a relationship with the criminal as is visible when he asks 'do you remember me'. Later on in the scene Ryan searches the house meanwhile Jake is left to bandage up the cuts on the drug addicts arms, infront of our very eyes he is turned from an aggressive hands-on man, into a sympathetic and understanding individual. This is intensified by the use of slow piano music transforming the scene from tense to tender in a matter of seconds, the pointer view shot, gives an insight to the life of the victim. The use of closeup of Jake helps the viewers side with him, in his moment of realization of what being in the Police Force really takes.

The final example of a criminal is very major compared to the other examples, the scene in which a racist thug enters a shop and brutally assaults a young man, with no reason. The scene starts with foreshadowing an incident ahead, this is when the victim is on the phone to his mother and states 'everything will be okay'. But of course, this is incorrect. Soon after the young man enters the shop the thug follows him, at this point the shop keeper disappears behind the counter. The thug starts by asking 'are you laughing at me', this intimidates the victim, as he shuffles to another aisle. The thug then 'squares up' to the victim and states two racial slurs to the boys face. The scene is then cut off, zooming into where the shopkeeper was last seen, then zoomed out, revealing a whats thought to be lifeless body left stranded on the floor with a pool of blood surrounding him. PC Jo Moffat is left  to deal with the incident, when she tries to question the shop keepers son, their lawyer states that they are not obliged to make any comment, this reveals that it is hard and stressful trying to sort a lot of incidents as the lawyers are constantly involved making situations harder while they are only trying to back their clients.

EXAM Q1

 EXAM QUESTION 1; Analyse how sound is used in the extract to create meaning. Refer to atleast two examples from the extract in your answer.

During the extract of cuffs, there is no non-diegetic sound, this creates the effect of true reality, adding to the whole meaning of Cuffs - to not glamorize everyday jobs like being in the police force. The audio you can hear are very diegetic and very normal.
          Noises you hear are those of the cars in the background which add to the location, the middle of the motor way, showing that the work is never on pause and that being a police officer is high maintenance and you rarely get rest, this is also added to with the noise of the police radio which asks for confirmation of the description - of a suspect the unit may be hunting down. The way in which Ryan does not turn of the radio gives the effect that he will be ready to go back to work as soon as the small dispute is over. Again adding to the fact that the police unit are very committed to their work and don't take breaks often.
        Throughout the extract the voices of the actors slowly rise creating an atmosphere of tension and anger between the two protagonists, for the audience this creates an engaging story line, guaranteeing a watcher to want to come back and watch on to see how the rough relationship develops.
       Outside of the extract of the clash of Jake and Ryan there is no non-diegetic noises besides the opening sequence, which has in my opinion unfitting to the rest of the programme.