Nick video footage.

• L-CUT of clapping (a shared love for her music), Nick Shymansky archival footage heavily establishes the real Amy, before fame destroyed her.

  
  

  Nick: 'the closest thing you get to truth is footage in the moment.'

  
  

  MS zooms in on a promotional poster for the 'Stronger than Me' single, 'true fiction' using archival footage as temporal markers.
• Inside the car, handheld archival footage shown of Nick (her manager at the time) and Ian Barter (her guitarist and pianist) joking around about the '800' copies that have been soul, 'at least half my friends have bought the album.
• Archival footage from the beginning of her career successfully builds a warm, deeper intimacy between the camera, Nick and Amy at her rise to fame, therefore furthering the extremity of the paparazzi: and shows their villain status.

  
  

  These raw, intimate moments between Nick and Amy would have never been seen if it were not for digital technology.

  
  

  Kapadia manipulates audience interpretation through editing.
• The continuous zoom on Amy establishes her as the protagonist not only in the film but also in Nicks life: making it sadder as she becomes attached to Blake eventually leading to her downfall that he attempts to stop.
• MS of harassment of Amy begins with playful begging from Nick for her to show her face to the camera, the innocence through diegetic dialogue.

  
  

  As the film progresses, it turns into ongoing harassment from the paparazzi. This narrative parallel constructs the paparazzi as the enemy.

  
  

  Kapadia ''i thought that the most interesting thing, how it changed from Nick saying 'give us a little flash' to the paps going 'come on, cheer up.'
• Whilst Kapadia is not as visually involved in the film as Broomfield is - his participatory mode - his personal impact is just as strong, but rather than being through sight or sound it is through the editing.
• Non-diegetic voiceover of Amy's interview with 'Gary Mulholland.' layered over archival montage footage of her being photographed, performing to a small audience, and a LS zoom in on her stood at the stage, again, smiling.

  
  

  This is heartbreaking dramatic irony, eliciting sadness amongst the audience seeing the reality that Amy did not aspire fame.
• 'i don't. At all. Because my music is not on that scale. sometimes I wish it was but I don't think i'm going to be at all famous. i don't think i could handle it. '
• Kapadia utilizes the raw footage (true fiction) to reveal the rise and fall of Amy: her innocence and love for music that was turned into a life of chaos.
• Handheld MS switching between Amy and Nick: 'now you film me, my turn!', excitement from being in the spotlight that becomes hatred.

  
  

  It also comments on her relationships with men, Kapadia manipulates negative lights (as Mitch argues) for Mitch + Black, her relationship with Nick is innocent.

  
  

  She is not constantly at his hip: she is shown in one shots, she has her own identity outside of their relationship.
• In the cramped bathroom, there is a sense of relatability built between Amy and the audience.

  
  

  HA MS filming reflection in mirror seen through the loving lens of Nick as she jokes 'don't get my spots in!' whilst reapplying her makeup, before the iconic Amy look began, this raw Amy full of insecurities.
• This footage presents her as any normal girl: not consumed by drugs or attacked by fame, she messes around with her best friend: there is an innocence in all these aspects (drugs, the camera, the music, her relationships) before they spiral out of her control.
• Broomfield's filmmaker theory (participatory mode) applied through Nick Shymansky: Nick is the filmmaker and Amy the subject.

  
  

  Kapadia's true fiction: 'i have no interest in being objective. I have an opinion - you might not see me (in the film) but i'm in it.'
• There is an intimate gaze present in the footage provided by some of her closest friends.

  
  

  Positioning the audience viewing Amy through the lens of the closest people in her life and have her gaze back at us with the same level of intimacy.
• Nick Shymansky = Amy's first manager from 'Brilliant 19 Management'
• The sequence end with archival footage of performance of 'In My Bed' MS centre framing Amy with on screen graphics of her lyrics surrounding her, Kapadia showing his poetic mode completing the linear shots from Nick with her performance.
• It finishes with a zoom into ECU on Amy smiling: music is her happiness.