Hannah Holden Analysing ‘Job Street’ Essay 1In the beginning title sequence, the text has a jittery effect with a looming shadow. The shadow isblack which matches the backdrop colour with the block capital writing in all white. The text remindsthe audience of a type write style similar to that of a police written statement. The text encodes thistherefore a reference to a higher authority within society. It also creates an element of anonymitywithin the opening titles which will lead through to the whole piece as the audience is in constantsuspense. This is due to the fact that the narrative has only small amounts of dialogue and as theviewer we must make the assumptions as to what is going on by signs and camera shooting. Thispart alone is successful regarding the underlying problem of immigration and shows the hiddenpeople within our society. Within the title sequence a changing shot of a clock is used in time with the buzz track. The clockcomes into view after the first type write screen appears but the focus is blurry and a jump focus isused. The next shot of the clock is a close up and is in focus to watch the clock reach the ‘hour’ andindication and insight that people are about to wake up. When each of the three protagonistsawake, the camera focus is immediately blurry which reflects the movement in which you wake upand your vision is askew. This is also the exact same shooting as the clock sequence which occursimmediately beforehand. The blurriness of the camera focus further enhances the suspense andmysterious style of the whole piece which has been present right from the start by stopping theaudience from seeing exactly what is going on in the frame.The section whereby all three immigrants travel to wait to be picked up by an employer is a keysection to understanding the narrative. It follows on from previous parts whereby the threecharacters morning routine is shown in direct succession and always sequentially concerning eachmale to suggest that all events are occurring simultaneously. The first character we see is Morad ashe travels on public transport to his destination. The camera shoots him from above using a fadefrom the street to him all moving at a constant. This helps to bring the focus towards him as thecamera stops following the outside of the vehicle and frames him from above. This then jumpsstraight to the second man who appears to be cycling. Although we cannot see the handlebars, it isimplied by the way in which the camera follows him in a close up from below as the backgroundappears to move. This would most probably have been shot with the camera attached to the bikefacing up at him in order to capture him centrally to gain our full attention. Again a jump effect isused to show the Afro French immigrant who is walking through an open area, possibly a park andthe camera captures him directly from the side. The camera follows his movement in a close uppresenting the side of his face and then finally ending behind him before a fade to black is used toenter into the next scene. I feel that the usage of camera angles has been done purposely to portrayhow we are seeing all three of their lives from every angle possible as the truth about exploitationand the dreadful consequences unfold. There is a brief moment at 01:37 where we are looking overthe Afro French man’s shoulder up and out at a wide view of houses. This shot enhances the settingof the scene and indicates the destination he will be arriving at yet is also has an ironic sign that hewho lives in a dreary box room with his pregnant partner is looking out to residence which he cannotafford. This shot represents two ends of a social spectrum with him indicating the poorer side andthe surroundings indicating wealth.
Hannah HoldenThe sequence which travels towards the right along the wall starting at 01:39 is an effectivemovement of the camera which takes the audience into the scene. Its movement is at a constantspeed yet with quick fades firstly as an obstacle of people come in the way of the lens and secondlywhen we are faced with the blank wall. The camera shots change from long shot to close up. Thelong shot captures the backdrop of the brick wall as well as the road and two people standing by thewall. These two people are irrelevant to the narrative but key to the understanding of the themewhereby many immigrants await to be taken off to their secretive daily jobs; hence the shot is longand does not draw attention to them. As the camera moves sideways it comes to an obstacle ofpeople close up yet only captures the lower part of their bodies again not to draw attention to them.This allows a transition into a closer shooting of the wall, now at a medium shot. It moves past oneman standing alone for a brief moment wearing shabby clothing and looking generally scruffy. Theusage of unimportant background characters could have been used to highlight the idea that manypeople are in similar situations to the three protagonists and adds to the feel of ‘job street’ being areality drama piece. Although we do not know that all the characters we see are immigrants, weassume this due to their unhygienic appearance and ragged look which implies they possibly comefrom a poorer background. The camera still moving at a constant uses a gradual fade when itreaches the blank wall into another section of blank wall which next becomes a close up on one ofthe main characters in the narrative. All three stand together and one by one the characters arerevealed to us going about their everyday business. The fact that all three stand together against thewall creates an element of their stories interlinking. Their relaxed nature towards each other as theyshare a hot drink implies that the routine is a common occurrence. The idea that all three people weare considering the lives of are known to each other highlights that the immigrants of society arestanding together and supporting each other. However the fact that no dialogue occurs in this shortsection and the bad weather, helps to convey the melancholy mood.At 02:25, there is a brief moment in which the character Morad looks directly into the camera lensan effect set by the director to include the audience and to add an element of guilt. The look isaccusing to the viewer and is a paradox to the way in which we look upon these cases in everydaylife and are ignorant to them. The briefness of the look itself not even being a second longemphasizes the idea of how the public ignore these cases on a daily basis and on some levels helpsto indicate that the piece is demonstrating stories that could be happening in reality due to theengagement with the real world; the audience. The way in which this section is filmed appears to bea camera attached to the outside of the car. I assume this due to the framing of the shot (close up onMorad’s face) and the following through of this shot. This concept of filming plays an important rolein understanding the narrative as it allows us as an audience to feel a part of the narrative itself bybeing so close to the character. The idea that Morad is looking out from the car, the transport he isbeing driven in to reach his placement of work represents the idea that he is trapped in a placewhere wealth prevails; the car and its owner assuming the high position and the controller of thepoor people of society therefore Morad.
Hannah Holden Analysing ‘Job Street’ Essay 2The short film ‘Job Street’ captures a narrative concerning immigrants in our everyday society as wellas exploited labour. Within this narrative concerning three protagonists there are three separatestories. The way that all three stories convey people in similar conditions helps to show the focus ofthe narrative yet we are urged to watch due to the personal aspect linked to each character. Eachstory unravels in its own way with different outcomes but directly concerns one theme by displayingeach character’s vulnerability throughout.To construct an overall effective film which reveals the lives of an immigrant in the UK, technical andeditorial effects are used which help to generalise each characters situation and to uncoversimilarities between their lives. An example of this would be the sequence between 00:53 to 01:05whereby the multiple narratives is shown with all three characters at home looking into a mirror.Notice that the shot of each captures each character from the back yet also their front in the mirror.This is a representation of how their body is captive in the real world however they see themselvesin another; the mirror. The mirror itself is an object that allows you to see yourself but not always asothers see you, a metaphorical meaning for these ordinary people, seen by society as a cause forconcern.In this section the transition between the multiple narratives is cleverly executed as the firstcharacter Morad looks into the mirror before leaning down to the wash basin. As the head comes upfrom the sink the shot changes to the second man’s story, at home getting ready for the day. Thenext transition is a jump to the afro French man who is looking into a broken mirror which itself isjagged and dirty. This creates a distorted image of him suggestive that his life shows a parallel to themirror itself; uneven and the reflection unclear. The sequential pattern is used when we see male 1then male two and after male 3 all going about their morning routine of getting ready for the dayahead.The plot of each story within the narrative explores the exploitation of immigration and with thiseach story ends in a dire consequence. Although this is not factual and not all immigrants come todire consequences through their working in foreign countries, the downfall of each character helpsto enhance the idea of exploitation on an extreme scale and emphasizes the overall melancholymood of the piece.In the whole piece it seems that although we are watching the plot unfolding concerning immigrantsin the UK, we are also posed with the idea of social status concerning wealth within society. At manypoints during the film this is challenged and it is noticeable that all three characters although allseem to be living in a kind of poverty, range from concerning to extreme. The representation of thisis repetitively drawn upon as we continuously watch the everyday routines of each characterhappening almost simultaneously. The first character Morad, from what we can gather lives in a flatyet the second man lives in a caravan and the Afro French man lives in a small filthy room. Themirror section from 00:53 to 00:1.05 is crucial for revealing this point as it sequentially movesthrough the different stages of poverty from Morad in his flat to the Afro French man in severepoverty. The surroundings inside all three residences also portray this point.The mirror section itself is a key part, which encodes mythology of the object e.g. how looking into amirror shows the viewer what they want to see and not what other people see. Also the idea that
Hannah Holdenthe Afro French man is looking into a broken shard encodes the myth of seven years bad luck frombreaking a mirror implying that his life is a constant string of bad luck.The section explored in essay 1 whereby characters stand by the brick wall waiting for work andshare a hot drink has a parallel to the stereo-typical ways of prostitution whereby women wait onthe streets alone or in groups to be picked up by a paying customer. The mode of work itself isrelatively demeaning and implies to the audience that the immigrants are vulnerable and beingtaken advantage of by our society.