Narrative/visual pleasures (C1)

• Mise en scene...
• Symbolic use of the St George’s cross (Combo’s head tattoo, on the church) 

  This prop illustrates Shaun’s level of engagement with nationalism throughout the narrative
• Costume – the importance of the skinhead ‘uniform’ to represent numerous ideas 


  The bonds of the gang members, Shaun’s acceptance within the group and Milky’s pride at his cultural heritage
• Graffiti (“Maggie is a twat”) 


  Used to illustrate the political views of people in the neighbourhood and of Meadows 
• Cinematography in TIE...
• Handheld camera throughout 


  Authentic tone -social realist
• Big close ups are used sparingly but powerfully (Combo and Shaun’s conversation in the car) 


  Growing intimacy between the characters 
• Editing in TIE...
• 3 main montages featuring Shaun (him alone, Woody’s gang, him being ‘trained’ by Combo) 


  Useful for comparative analysis as the tones vary dramatically 
• Montages of archive footage (opening, closing montage)


  The opening montage --> wide ranging social and political context

  End --> focuses on the Falklands conflict inviting the spectator to draw ideological parallels between this and events in Shaun’s life
• Use of long takes in the final scene 

  Inviting the spectator to consider Shaun’s emotions and thought processes
• Sound in TIE...
• Einaudi’s melancholic score 


  Used to convey the negative influence of Combo on Shaun’s life
• Range of popular music used from different eras (Toots and the Mayals – ‘Louie Louie’)  


  Conveys racial inclusivity of ska, the early skinhead movement, and the pop culture of 1983 when the film is set 
• Repeated uses of radio broadcasts featuring Margaret Thatcher discussing the Falklands conflict 


  Keep parallels between that war and the events unfolding in Shaun’s life in the spectator’s mind and convey how focused the UK was on the conflict in 1983 
• Film heads towards climactic flourish of violence from get-go