Misfits
The narrative begins by
introducing the five main characters of the cast. The cuts exchange through a
selection of medium close-ups of the two female and three male actors as they
dress in prison apparel. The location is identified as some sort of low-class
changing room, presumably at some sort of rehabilitation centre as suggested by
the costumes of the actors. The audience is exposed to the attitudes of the
characters suggested by their arrogant facial expressions as well as the way
they are presented getting dressed and looking in the mirror - an action which
is the utmost of physical self-evaluation. The sound is non-diegetic and
features a fast-paced techno beat which develops in pace as the cuts occur
quicker and each character displays an action which resembles their character.
This includes a woman doing her hair which connotes image-consciousness and another
female character is exhibited creating cleavage as she adjusts the position of
her breast which establishes the idea of sex into the themes of the television
show as this particular character is associated with that via this first
impression to the audience. The individual cuts of the characters proceed to a
halt to the music and cut spontaneously into a low-angle long shot of the six characters
stood leant against a fence with distinctive body language to complement the
nature of their attitudes. Simultaneously, we hear the dialogue of the probation
worker which receives uninterested facial expressions displayed with a series
of close-ups switching between the characters. The dialogue exchanged among two
of the male characters develops into a fight which consumes the sound of the
scene inviting a sound bridge to introduce the cartoon-styled title sequence. This
proceeds onto the setting besides a river with the young offenders doing
community service until visual effects are used to portray a supernatural storm
at which point editing is rapid and the camerawork is manipulated to suggest chaos
with rapid camera tilts and disorganised pans. The scene which follows
afterwards uses visual effects to show an interval and indicate that a change
has occurred and the narrative to follow will suggest that the characters have
been affected by the storm.
Youngers http://www.channel4.com/programmes/youngers/on-demand/53167-001
This British comedy show opens with a hip-hop styled instrumental beat with extreme close-ups displaying a golden chain being kissed by a teenage male which symbolises pride and is an effective method of introducing the nature of the character. This moves on to the teenager rapping on a microphone in the setting of what seems to be his friend’s bedroom studio. The lighting is low-key and a shot displays that it is late at night which is validated when the rapping teenager’s mother interrupts the recording session to insist that he is sent home. This scene is halted with the inclusion of a short title sequence to display the name of the show. An establishing shot follows immediately to display flats based in what appears to be the location of East London with a radio-rip playing in the background, cutting to a shot steadily zooming into a male character sat on a bed half-dressed with who seems to be his girlfriend dressing in the background. This continues to a cross-cut over to the other character who is displayed listening to his mother speak to him on the subject of GCSE results. One of the upcoming shots is a close-up showing the frame occupied by a letterbox (an actual letterbox – not the film term for adjusting aspect ratio) being opened and shut by the other male character. A medium shot is used as they exchange dialogue in the midst of a suburban estate. Sound is focused on the three 'mandem' sat on a wall as they speak obnoxiously loud, after which a medium close-up is used to display one of the two main characters' facial expression - disappointed and annoyed. This introduces a sense of conflict in the narrative immediately which is further supported with the use of a long shot of the five subjects, out of which one is furthest away and continues to walk off after a discussion exhibited with over-the-shoulder shots edited rapidly into a sequence.
Run
http://www.channel4.com/programmes/run/on-demand/53615-001
The expository minute of the drama 'Run's opening
scene begins with overlay shots out-of-focus with sound effects to create an
eery effect which slowly transitions with a cross-fade onto the ambience of a
setting appearing to be a suburban east London street of shops. The camera
tracks the travelling woman, with the use of a medium close-up to show the back
of the woman as she walks into a convenience shop. The editing is very slow and
cuts have long durations in between and the camera follows and pans the
movement of the woman’s actions. An aerial shot follows her movement to display
the surrounding environment and continues to the setting of a flat kitchen with
an argument exhibited with background dialogue. Non-diegetic melancholic music
is featured in the following scene continuing onto a phone ringing and a title
sequence follows. Meanwhile, cross-cuts are made between the mother and her two
sons who are shown following a young woman named Tracy which is exhibited with
medium close-ups showing her being followed by the two men in the background. Shortly
afterwards, editing is at its highest pace yet in the opening of this show as a
man is brutally punched and kicked to death which is emphasised with sound
effects of contact between the man and the attacking moves. This is supported
with non-diegetic music to elaborate the dramatic effect of the murder. The occurrence
of these events establishes conflict in the narrative and creates an
anticipation for repercussions to follow on and affect the characters
introduced in the opening scene.
Psych
http://www.videoweed.es/file/2903488e69df8
Text-on-screen ('1986,
santa barbara, ca') is used at the introductory frame of the clip to establish
the idea that the following scenes are in retrospect as this TV show is set in
2006. This proceeds to introduce an American diner with a panning shot
displaying the setting, accompanied with upbeat non-diegetic music. A sound
bridge introduces the father of a young son with typical dialogue exchange
among a father and son relationship. This continues onto conversation dictated
via over-the-shoulder shots employing the 180-degree rule. The close-up of the
fudge-cakes creates an enigma code of its significance and continues to become
a foundation point for the forthcoming narrative from which the audience learns
of the child's supernatural psychic ability. This is exhibited via the use of
visual effects to show a glow on particular mise-en-scene features mentioned in
the context of the dialogue on order to present the meaning of the action
clearly to the audience who is newly introduced to the television show. The
scene develops and proceeds onto one set in 2006 (suggested by on-screen-text)
as transitioned via a dissolve to display the child as a matured man. The
scene shows low-key lighting and exhibits a couple engaging in sexual activity
as the television is playing in the background, proceeding onto the title
sequence and zooming out show from a medium close-up of the protagonist upwards
to the establishment of the area of what appears to be a police station. The
visual effects of the glowing objects continue to be used in the upcoming scene
and a non-diegetic music track is to connote a casual atmosphere and the
upcoming dialogue exchange provides further insight into the character’s
intelligence and wit.
Topboy
http://www.dailymotion.com/video/xw0f4l_top-boy-episode-1_shortfilms
The TV show Topboy begins by displaying various establishing shots of an urban setting based in a suburban London council estate. The non-diegetic soundtrack accompanies the sinister atmosphere of the environment and suggests reinforcement of the stereotypes associated with such a setting being linked with crime and violence - further supported with the sound of a police siren. The scene continues to display an over-the-shoulder shot showing a long distance surveillance over who the audience may assume to be the main characters of the forthcoming narrative, dressed in urban clothing associated with whom are referred to as 'hoodrats' supporting the stereotype of engagement in crime. The editing featured in the upcoming seconds is rapid to suggest development of tension and creates suspense for action to occur. This is validated with the sound of a ringtone suggesting an action code of accepting and replying to the call, thus raises enigma codes regarding the caller and the context of the conversation - answers to which remain a mystery at the moment. The following shots feature a market in the suburbs of East London with short pans to show the average population of the commuters. In the midst of the introduction, the narrative reaches a climatic point when a black SUV is displayed speeding towards the male and female subject at the council estates, supported with cross-cuts exchanging between the locations of the characters' peers as well as himself and his companion who anticipate danger from the arriving car. The props of the guns are effective in creating tension as the characters are shown to be anxious, which is shortly exacerbated as the characters aggressively argue with one another, the background music increases in volume and a cut switches to the young male in the flat who’s actions are followed with a medium close-up and a pan to his mother in bed who is evidently unwell. The combination of these two problematic situations lead to validate the anticipated tension and create conflict for the narrative of the TV show to develop into a complex story.
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