BRITS

• Non-diegetic voiceover used as a temporal marker: 'Rehab was a pivotal song... her becoming a commercial star.' to introduce this rise to fame, to breaking America.
• Archival footage used from backstage at the brits, a HA shot of the photographer, before Chris King (editor) employs stylistic editing as the bold flash alongside pleonastic click transition into a glamourous still of Amy backstage, capturing her iconic look.

  
  

  The digital technology allows a capture of an immediate moment.
• Footage begins within the crowd, before cutting to a BEV ELS slow motion as she heads for the stage, the crowd swarming her as she makes her way to the stage.

  
  

  This pivotal moment in the doc, visualises her fame: the heads cheering and watching her symbolise for her rise to fame.
• 'if i really thought i was famous, i'd go top myself or something.'
• We then smash cut to paparazzi camera flashes, pleonastic sound amplifies the shutters - adds to the overwhelming nature of the camera flashes as they spill outside of the documentary into the audience.
• Kapadia says 'the camera goes from being her friend to being quite violent.'
• Non-diegetic slow and melancholic track 'We're Still Friends' covered by Amy brings this imminent feeling of doom, a shift in the celebratory tone, the relationship with the media.

  
  

  The lyrics anchor the return of Blake.
• HA crowd shot of her friends covering her for protection from the violence from the snapping photographer: juxtaposing the slow, stop-motion of paparazzi pictures synchronised to the slow song, hitting the deep note as Blake appears from the shadows (Carl Jung argues they were a moral problem challenging the ego-personality) darkness behind Amy, his inauthenticity as her protector.
• Lyrical graphics = ‘ain’t it strange and wonderful… that we’re still friends’ cut to still where Blake reappears from the shadows, lingering longer on this still

  Kapadia's poetic mode + subverting Broomfield's participatory mode using the archival footage to speak for itself.
• The slowness to the song added alongside the beating underscore = melancholic and sad as he returns into her life, suggesting a shifting point.

  The sequence ends with photograph of Amy and Blake kissing – the relationship has been reignited.
• The hidden camera, LA, in April 2007, inside a taxi creates this sense of Amy being unable to escape the cameras, as her diegetic narrative marker 'Katie, this is Blake, my fiancee', Kapadia's true fiction to progress further into her life.
• Drone shot of NYC - showing her break into America with the non-diegetic 'Rehab' fading in and out, and following with archival interviews with fans detailing their love for her - parasocial relationships.
• Digital montage, wipe transitions using on screen graphics floating across the screen, creating this digitalised vision of her rise to fame, using series of magazine covers that would've been seen by everyday people.
• Match on action between performances of 'Rehab' across American talk shows (e.g. jay leno) blurring their differences, reflecting her state of mind

  
  

  'she was almost embarrassed by the fact she was doing so well.' VO of Yasin.
• Slightly later, the 'Spin Photoshoot with Terry Richardson' is introduced by the broken mirror: creating this damaged perception / symbolism of the intimacy between Blake and Amy, a binary opposition to the photography before the Brits where she shines with freedom.
• The zoom in on Amy flipped upside down through the broken glass connotes her fragility and fame being a mere reflection of her.
• Handheld ECU footage taken by Blake - 'i wrote i love Blake on my tummy' the innocence of this statement juxtaposed by the fact she carved it in using broken glass.

  
  

  This sentiment reflects the duality to Amy: her vulnerability in loving Blake alongside her volatile need to hurt herself.
• She looks upwards at Blake not at the camera, there is this paternal sense of her wanting him to look after her, protect her, take a father figure place.
• There is a sadistic element behind Amy carving into her stomach, it relates to what Spike (Blakes friend) later notes that 'her whole thing was that she wanted to feel how he felt.'