How useful has an ideological critical approach been in analysing the films you have studied? Refer in detail one or more sequences for each film.” Plan: Intro – An ideological critical approach has been highly useful in analysing This is England due to the films explicit ideology about the destructive nature of hate and the harm that misguided patriotism/nationalism has on people. Such an approach to Trainspotting, however, is less useful, as the film has an implicit message on the arrogance of youth and the harmful side-effects of it. However, by displaying why people may find this lifestyle ..read more

“Explore how the narratives of the films you have studied influence your response to key characters.” Plan: Intro – Trainspotting’s non-linear narrative influences younger audiences to be drawn to Renton and his lifestyle, presenting him as charismatic, enthusiastic and likeable. This Is England’s use of montage and an almost episodic narrative encourages the audience to empathise with Shaun, understand his descent into nationalism, and be repulses by Combo’s negative influence on his life. 1. Referencing the Opening sequence, Trainspotting’s use of ellipsis, fast-paced editing and rapid narra ..read more

Narrative: The films narrative is largely linear, however there is use of ellipsis in the montages, where time is compressed to convey information faster, and the montages themselves are expressive, shown what life is like in general through specific images, e.g., happiness in the fun with friends montage, shown through jumping in puddles and laughing with friends. Key Elements: Ideology: The film never establishes what Shaun’s time in Combo’s gang did to his relationship with his other friends (Woody, Lol, etc.). By the ambiguity of whether or not Shaun’s life has been permanently stained/dam ..read more

Narrative: Key Elements: As with previous montages, the camerawork in this one is more gliding and graceful, carefully framed, such as the shot that smoothly dolly’s backwards as Combo and his gang walk, in slow motion, towards it. Ideology: Shaun is shown being indoctrinated by Combo into the gang. He is told what epithets to say, how to talk to the ethnic minorities Combo targets, being cheered on by Combo and the others as he begins to walk and talk like they do. He is also shown in one shot of him walking through a graffitied underpass, which he is superimposed against, literally descendin ..read more

Narrative: This scene is the disruption of the equilibrium, a clearly defined turning point in the narrative where an infectious force of hatred worms its way into an otherwise picturesque friend group. Key Elements: The more gritty, real use of a handheld camera is done here to give the scene, in contrast to the montages, a more brutal and dark feel. In this way, the film has all the trappings of a British social realism film, except for the use of montage and manipulation. For example, as Combo continues with his story, performing an outrageous impression of a caricature black man, the diege ..read more

Narrative: Meadows uses montage to compress time and convey messages in short time spans. Here, an entire day out with friends is shown in a short montage, which communicates to the audience that Shaun has found a place in this friend group, and is happy with them. The film is almost episodic, with the periodic use of montages acting as book markers dividing different segments of the story. For example, the first montage displays Shaun bored and sending his Summer alone, and after that he first meets the skinheads. In this montage, we see what his life is like now that he has friends to spend ..read more

Narrative: The film is narratively satisfying, coming full circle by the end. Renton’s motivations were established at the start of the film, and now his change in motivations/actions has been explained,. Despite the fact that we don’t know what happens to him or the other characters next, the story has been finished, having told the story that it set out to tell. Key Elements: At the beginning of this sequence, the camerawork has calmed down, with a higher use of static shots, with a signifying the calm before the storm. Renton, too, seems to have lost his cool confidence, now acting more cau ..read more

Narrative: The montage begins with sudden, jarring stock footage of thongs that are distinctively from London. Rapidly edited shots of pigeons, ice cream, tourists, double decked buses and famous street sign convey the new location to us, alongside the use of current dance chart music from the time, a switch from the cool retro compiled music used before. This use of shallow chart music that would have been popular at the time signals a change to a new place. Even the camerawork loses its signature playful flourishes, reverting to a more conventional style of cinematography, signifying Renton ..read more

Narrative: Renton’s fast paced, energetic and almost poetic narration connects the scenes in the film, acting as a bridge to maintain a constant fast pace. His narration is accompanied by visuals, such as when Begbie finishes Renton’s sentence, speaking directly to the audience and thereby breaking the fourth wall. His narration is rhythmic, bridging the large ellipses between scenes, which are used to compress time in this opening sequence to give the audience an introduction to the lives and personalities of these characters. Key Elements: The film opens with an ‘in media res‘, or a cold ope ..read more

Narrative: Trainspotting – The film begins with an ‘In media res’, or a cold open, beginning with a jarring shot of feet running from an unseen threat, belonging to an unseen person, with the non-diegetic compiled score playing ‘Lust For Life’ by Iggy Pop. The song is fast paced and upbeat, lending an immediate momentum and energy to the film. It also reflects a shared culture between the characters, who would have listened to this music from 1977 as they were growing up. It creates a sense of camaraderie between them, as they like the same music. The film does not have a linear narrative, as ..read more