1. In what ways does your
media product use, develop or
challenge forms and
conventions of real media
products?
Candy Stripped

2. Conventions of Social
Realism
• Location Shooting
• Wide Shots + Close Ups
• Type of Actor
• Semi Improvised Scripts
• Types of Props
• Wider Social Issues Explored
• Narrative Structure
• Triumph over Adversity
• Lighting
• Editing
• Sound
• Form + Institutions

3. Location Shooting
We were able to use our surrounding
area in our production through
incorporating our own houses as well
as the countryside. As a result of us
representing a rural regional identity.
The location shooting fit with the
conventions of our genre as well as
enabling our setting to carry a more
personal and relatable feeling for the
audience. This is captured constantly
in other films of the genre as it
enhances the realism aspect of the
production. It is seen commonly in the
work of Shane Meadows with films
based around a rural regional identity,
focussing on the Midlands such as
“Dead Man’s Shoes”. Our locations
echo the work of Meadows despite
the lack of dialogue. As the
production progressed we would have
been able to explore this idea

4. Wide Shots + Close Ups
Furthermore there was an
incorporation of a variety of shot
types; including wide shots linking
again with social realism’s
conventions. The wide shots allow
the oppressive theme commonly
threaded through numerous social
realism film to be more clearly
displayed. Our use equally
represents this due to the way the
environment belittles the
protagonist. Additionally is are use of
close ups instead of dialogue. These
are used to connote the frustration
and distress the father finds himself
in. He is at loss of words conveying
his emotion through his
performance. This different idea is
more likely to be found in an
independent production due to its
suppression of the convention.

5. Type of Actors
The convention of having a specific type of
actor, often fairly unknown (due to the
independent companies lacking money to
afford a professional) actually aided us;
because of the lack of availability of a
professional one to us. Therefore the person
that plays the protagonist is non-professional
and gives a performance that is more personal
to him. Our use of debut actor reflects the
process our production company would take in
real life through auditioning. This can be seen
when Shane Meadows auditioned for a young
actor at different schools, discovering Thomas
Turgoose

6. Semi Improvised Scripts
Consequently of using someone with no previous
experience in acting we were unable to adopt
the convention of a semi improvised script.
However we were able to take inspiration from a
particular independent British film, “Dead Man’s
Shoes”. This production features a complete lack
of dialogue during its opening and this break
from convention allows it to present a greater
impact. Therefore we too challenged this
convention, solving a problem with the actor
and producing a better result that what could
have previously been achieved.

7. Types of Props
• Our use of props allow the audience to identify the
representation of working class through the depiction of
him performing physical labour (often found in social
realism films). Being sophisticated they can see beyond
his stereotype of class, instead seeing his determination
and attempt at productivity. This is commonly done in
social realism films, relying less on generalisation and
more the vulnerability of a character. Thus allowing him
to gain the respect of the audience. Having this in the
opening they may consider him initially deserving of
respect anyway, because of his solidity and his desire to
be productive in any way possible (e.g. playing cards
rather than doing nothing).

8. Wider Social Issues
Explained
Our overall narrative discussed
wider social issues, for example
the impact on children growing
up in a more poverty ridden area
but also the themes of isolation
and depression and the effects
that it can cause to people.

9. Narrative Structure
The narrative of our production works towards a new equilibrium of the
father improving his life because of the influence of his child. Ideologically
we aimed to prove how you are not influenced by your class or status. With
the right motivation you are able to become what you want. Our audience
could have gained pleasure from this ideology and received personal
identity (Uses and Gratifications). This could be perceived as a hegemonic
ideology as it influences people to keep carrying on and striving for what
motivates them. However our protagonist does not have materialistic
motivation. His comes from the love of his child. Our narrative contains
conventional structures such as binary oppositions between the man and
the rest of society due to his isolation from it. The sophisticated audience can
take an understanding of social injustice and the themes of depression. In
terms of Propp’s character types the single character shown in the opening
could be any due to no others being introduced. The sophisticated
audience may see home however as both the hero and princess. He is
suppose to be the boys source of protection and care but on the other
hand he is in need of saving. His independent overcoming of this problem
subverts the stereotype of this character type (Princess) linking to a more
independent production where this more likely to be seen.

10. Triumph Over Adversity
Finally is something that can be viewed
ideologically as unconventional in social
realism, however has been used in some
films such as “Trainspotting” (anti-hero
gets away with money). Since our
narrative is discussing overcoming what
seems impossible; as well as breaking
down barriers and circumstances that
the protagonist has created for him. It’s
an illustration of triumph in adversity that
has been showcased in other social
realism independent films such as A
Room for Romeo Brass. Our production
concentrates on the effect the child can
have on the parent, making in extremely
relatable to the audience who are likely
to have a family . Therefore will have
experienced the strength a child can
provide however possibly not to such an
extreme. Again doing something more
unconventional to a mass media product
due to its independent niche nature.

11. Lighting
• The lighting during our
production is conventional of
social realism as it is
predominantly low key
(Example of auteur theory,
used especially in scenes
containing fire to great
effect, becoming our
signature style). This connotes
severity of the father’s
situation whilst also providing
the production with a serious
tone. Additionally to the low
key lighting was our use of
natural light. This aided the
realism of the production,
making it more relatable for
our audience.

12. Editing
• We broke slightly from the
conventions of editing
(convention is normally just
cuts) since we included a
number of dissolves in our
production. This was due to
our inspiration from “Dead
Man’s Shoes”. We believed
it connoted the slow
corruption the father is
going through as well as his
loss of stability. This
unconventional approach is
more intriguing for our more
sophisticated target
audience.

13. Sound
One way we broke from the
convention of sound was
with our lack of dialogue.
This did though create an
enigma for our
sophisticated audience to
become interested in. We
also didn’t use any Foley
sound effects. Instead we
chose to record the
ambient sounds on set, this
is conventional of a
independent production
where it is more cost
effective to record them on
set.

14. Form + Institutions
Our genre doesn’t contain many conventions on form
giving us some creative freedom regarding the opening
sequence. However we sections such as the credits we
ensured we followed the conventions of there order and
as well as there common position on the screen. The
institutions we went for were conventional (Film Four +
Pathe) and have produced and distributed numerous
films. Despite that many independent films are co
produced, and I believe that we too should have gone
down this route due to its popularity. For instance “This is
England” had seven separate production companies
including Warp Films and regional funding like Screen
Yorkshire, and then was distributed separately, as none of
these companies was vertically integrated, by Optimum
Releasing

15. Conventional of an
Opening Sequence?
An opening sequence should introduce character, genre and narrative,
we did this by:-
Character: Our protagonists character is introduced through the non
diegetic soundtrack which is stripped back connoting his raw and
masculine attitude. Additionally the setting highlights his isolation and
hinting at a more troubled background and the props of beer emphasise
his alcoholic nature
Genre: We successfully depicted genre by following some conventions of
social realism films through location, shot types and also the exploration of
wider social issues
Narrative: The narrative is only partially revealed leaving large questions
and an enigma (a convention of the genre). Such as what the man is
digging for or burying and what information the letter contains. This causes
our sophisticated audience to seek pleasure from attempting to answer
these questions

16. Audience Pleasures:
Candy Stripped provides the sophisticated
target audience with emotional pleasures
due to the connection they form with the
protagonist. The determined nature of him
progress to see him overcome issues
allowing them to sympathise as they
witness his progression from nothing to a
father. There is also an intellectual pleasure
from the enigma and ambiguity of the
opening sequence leaving them confused
and with a large amount to try an uncover.
This shows a counter culture in our
audience who differ from the mass market.
As a result with focus almost primarily on
mental stimulation instead of visceral
pleasures.

17. How we could have done
better
We followed a large proportion of the conventions
and it may have been better to possibly be more
adventurous at certain points. This could have been
done narratively by not having the positive new
equilibrium. Instead a more postmodern approach
could be to have the protagonist in an eventual
worst state. This could be through crime or a darker
approach could be through such neglect his son
passes away. The protagonist slips further into his
darker self and his life is not granted the relief that
our productions narrative provides. Additionally we
could have followed other conventions of the genre
such as a contrast between humour and seriousness.
However we chose not follow this convention as it
would contrast with the central themes of our
production, being that of loneliness and depression.
The use of humour may have been enjoyed though,
by a postmodern sophisticated audience who enjoy
challenging the traditional constraints of mood
associated with genre