.

1. Battles (s1e4)- Camerawork
Edgar Wright’s late-‘90s Channel 4 sitcom makes use of a variety of camera shots, using both
standard and imaginative shots for an engaging viewing experience. Whenever two people are
talking in the show, the 180 degree line is often used. This creates the sensation of being in the
conversation. This links effectively into point-of-view shots. As the name suggests this means a
shot from the perspective of a character. In the show, it allows viewers to experience the
thoughts and feelings of characters. The types of shot used in this show are also carefully
considered. Long shots tend to be used as establishing shots and, sometimes, travelling shots.
Medium shots for conversations, close-up shots to show emotion in a character, and extreme-
close ups for intensity and very clear emotions. Camera motion is also considered, such as
zooms and pans. Pans are normally used just for travelling objects or characters. Zooms are
often used for dramatic effect, such as a sudden snap from a character to increase the impact.
Focusing the camera is also used to change whoever or whatever is the focus of the project. In
this episode in particular, there is a presence of tilts and low-angle shots. This normally occurs
whenever something awkward or uncomfortable occurs, such as insanity or discrimination, and
the shots are used either separately or together to give the viewer a sense of discomfort and
uneasiness. In contrast, high angle shots show vulnerability as opposed to trying to create it.
Such a sensation is also created with the dolly zoom, which zooms the background faster than
the subject to create a sensation of vertigo or just for intensity.
Edgar Wright’s signature editing style was first showcased in Spaced, which includes his

2. tendency for ellipsis and jump-cuts. This is showcased prominently in the show, especially
during cutaways that show a character’s inner thoughts. Using jump-cuts and ellipsis creates
both excitement and humour out of serious scenarios. Cross cutting is regularly used to show
different characters individually during the same scene. The cutaways are also used to show
flashbacks to a character’s past, such as the source of Tim’s fear of dogs. Fast cuts are also used
whenever something exciting is occurring, so they increase the tension of an already exciting
scene. Transitions are also carefully considered. Dissolves are mostly used to transition
between two scenes in a relaxing manner, especially when compared to the conventional cut.
There is also the presence of match cuts, where the same scene is used twice in the same shot,
but there are some differences to indicate a passage of time. This often appears in Edgar
Wright’s later films. This episode also contains several elements of intertextuality. In the
paintball scene, there are several references to war films, such as ‘Saving Private Ryan’. The
overly dramatic acting and dynamic filming style is designed to pay homage to this filmgenre,
right down to dolly zooms for “death scenes”. This also allows for cuts on action, such as the
impacts of paintballs on the people involved.

3. Gone (s2e5)- Plotting
This episode uses the A/B plotting method. This involves having a main story intercut with a
smaller side story relating to the main story. In this case, the “A” plot was Tim and Daisy going
for a night out and getting cornered by a gang, and the “B” plot involves Mike looking after their
dog, but then losing it. This became convenient to Tim and Daisy when they returned without
their keys. The episode contains foreshadowing. With the dog running off, it became convenient
for Tim and Kelly who dropped their keys on a flatbed truck, which set off. There is also
misdirection. The episode starts with Tim and Daisy meeting the gang and it appears they both
are about to shoot at the gang. When the scene was revisited, it is revealed they are only fighting
with finger-guns, adding comedic value to the serious situation. As a result of the introduction,
the episode follows a non-linear narrative. It proves to be an effective way of telling a story in
this situation, as the introduction raises questions, but does not give away the resolution of the
issue. There is also some foregrounding for the next episode, as a character’s birthday is
mentioned, which is the focus of said episode.

4. Gone (s2e5)- Intertextuality
When Tim and Daisy discuss what they plan to do for the evening, there is an ellipsis for each of
them that showcases their personalities and the tone of their plans. Daisy’s plan are shown
through a series of photographs, which gives a slightly formal tone. Tim’s plan is presented a
pencil-sketch comic with surreal imagery to give the sense of tripping and losing their minds, as
well as giving a very informal tone to his plan, especially when in contrast with Daisy’s. As this
episode appeared quite late in the show’s runtime, there are several call-backs to previous
episodes. Most notably, Mike is wearing an army uniform as a call-back to his time paintballing
in the 1
st
season’s 4
th
episode. Tim and Daisy also meet a character that had been previously
only mentioned, who inspires jealousy in Tim for constantly having feelings towards Daisy. This
also sets the tone perfectly for a flashback involving him and Tim at paintballing. When Tim and
Daisy confront a gang and partake in a finger-gun shoot-up, the fast cuts and editing are very
similar to action and crime thrillers, likely as the scene is poking fun at this film genre. There are
also gunshot noises complimenting the “shootings” to clearly show what is going on. A scenario
also foregrounds an event for the next episode, that being a character’s birthday. This also allows
for a transition between the events, showing that each episode leads into one another. The
planning scene is also called back to in a scene from Edgar Wright’s later feature film “Shaun of
the Dead”, which was released 3 years after “Spaced” wrapped.