Back to Black

• CU's on the recording equipment, with the onscreen graphic of 'March 2006' with Mark Ronson in New York using digital technology as temporal markers of her life.
• This footage was taken from a documentary for another artist, the cinematographer hearing the Amy's voice and shifting the camera to her, capturing her beautifully emotional voice.

  
  

  Both the VO's from Amy + Mark and the diegetic sound of her voice playing key roles in moulding this scenes' portrayal of Amy and her music.
• Amy's voiceover: 'when i wrote the first song about Blake, the other songs just wrote themselves' supports Kapadia's argument that the lyrics are the best, most authentic outlook into Amy's story.
• 'this tempestuous, extreme relationship. ' Mark Ronson, producer and DJ.
• Sound bridge begins to play the backtrack to Back to Black, whilst Amy tells the emotional experience of remembering 'what his neck smelt like, all of it' as she wrote these songs and footage zooms in on the music equipment.
• She wrote all of B2B in three hours.
• Amy's songs give the listeners subjective access into her life and experiences, and this sequences utilizes her voice to do so.
• In a slightly canted angle, MS of Amy in the booth, Kapadia removes the backing track isolating Amy's voice: the audience can entirely consume the sound of her voice, allowing the words to do the story telling (true fiction + poetic mode)
• The camera slowly zooms in into a MCU, focusing on how Amy is consumed by the lyrics, in singing, like she is experiencing Blake and the heartbreak through her songs.
• Kapadia then introduces the non-diegetic track of the finished song creating this immersion in the lyrics as the audience become entranced by her beautiful voice - much like Amy appears to be as her eyes remained focused on one spot.
• The camera zooms out in a LS - Kapadia once again removing the backing track for this melancholic ending 'black... black... black...'
• Amy subconsciously creates a prolepsis of the ending of the film, 'of its a bit upsetting at the end isn't it.'

  It is almost like Kapadia is using Amy to prepare the audience for the end.
• Kapadia adds that 'there is something in every sentence, in every turn of phrase', his superimposing of the lyrics on screen drive the point home.
• 'the lyrics seem to have all the answer' Kapadia
• Both the sound and cinematography follow a cyclical structure, beginning with removal of back track and zooming in before beginning the backtrack and ending with removal of backtrack and a zoom out.