cce task 1

1. CCR TASK ONE

2. Our sequence can be considered fitting
with the crime drama/ action-comedy
genres.
 Common iconography seen throughout
these includes:
 drugs
 money
 run-down rooms
 hoodies
 policemen
 balaclavas
 duffle bags
 police chases
 gangs
 Grimy streets
 guns

3. FILMS FROM THIS
GENRE
Some iconic films within this genre include:
 Snatch (2000 Guy Ritchie)
 Trainspotting (1996 Danny Boyle)
 Lock, stock, and two smoking barrels (1998 Guy
Ritchie)
Both ‘snatch’ and ‘lock, stock and two smoking
barrels’ were directed by guy Ritchie who was the
primary inspiration for the tone and style of our
sequence.
Additionally, the overall pacing and style of our
sequence was heavily influenced by trainspotting.

4.  I followed the conventions of crime comedies through casting
a gang of boys.
 In all the films that acted as inspirations, there is a central
‘gang’ presented
 Within this, there are differing personalities and roles in the
group.
Take snatch for example:
 Turkish and Tommy are entreprenures who dabble in illegal
boxing and unlisensced slot machines. This mirrors the
crimes of our gang as at this stage, the crime of illegal
reselling is similarly not particularly damaging.
 Turkish is a shady character who participates in unethical
acts, however, the audience is encouraged to like him. This
is the reaction we intended with our characters.

5. Our sequence has similarities with all 3 films in terms of
narrative and storyline.
Snatch depicts the group in different scenarios, with graphic
match transitions and innovative camera motions such as spins
and zooms. This film is similar to our sequence due to the use of
title cards with bespoke filters.
However, the nature of the sequence as a whole is more similar
to trainspotting, with low saturation, and limited transitions. We
both used handheld tracking shots to depict the chaos.
While our sequence does not aesthetically match ‘lock, stock and
two smoking barrels’, the characters attempt to hide money and
illegal goods from the police in a frenzy. This is reminiscent of
our sequence.

6.  We wanted the characters to be likeable despite their illegal activities. We did this
through the screen time given in comparison to the police.
 This is reflective of the screen time balance in trainspotting.
Tonally, we wanted our sequence to have a
cheeky feel with comedic elements.
Reflected by these shots:
This is similar to the comedy in the opening
sequence of snatch where tommy gets
knocked out with a punch bag.

7. We wanted our font to
match the piece tonally,
hence why we used a
graffiti font.
An issue we ran into
was choosing the right
font as we did not want
it to look too generic.
We used fully
capitalized letters
We made them all white
except the final title,
which was red. This was
to make this contrast to
the rest of the sequence.
We placed each title in
the blank space in the
title card to not cover
the facial expressions
and create balance
within the frame.
A thick black boarder
was added in the title
cards to create an
authentic graffiti look.

8. co-producers
A. SASHA BARDEY
ELENA de LEONHARDIS
executive producers
JAMES D. STERN
MICHAEL POLAIRE
DOUGLAS E. HANSEN
produced by
LORENZO di BONAVENTURA
GREGORY JACOBS
SCOTT Z. BURNS
written by
SCOTT Z. BURNS
directed by
STEVEN SODERBERGH
ENDGAME ENTERTAINMENT present
in association with FILMNATION
ENTERTAINMENT
JUDE LAW
ROONEY MARA
CATHERINE ZETA-JONES
and CHANNING TATUM
SIDE EFFECTS
also starring
Vinessa SHAW
ANN DOWD
casting by CARMEN CUBA, c.s.a.
music by THOMAS NEWMAN
costume design SUSAN LYALL
edited by MARY ANN BERNARD
production design HOWARD
CUMMINGS
director of photography PETER
ANDREWS
• On left are the order of titles from the film ‘side effects’
• On the whole, we followed conventions with the
ordering and crew members credited.
• However, we placed out title at the end to powerfully
finish our title sequence

9. CHALLENGING CONVENTIONS
 In a way, we have challenged conventions of the genre as we used teenage boys
rather than grown men to make up the gang.
 Due to this, we needed to change the selling of drugs to a lower level crime, selling
stolen goods.

10. CHALLENGING CONVENTIONS
 In other ways he have adhered to conventions as we depicted a gang of criminals
hiding from the police.
 Flushing drugs down the toilet is a common action in crime films.
 This could be deemed generic, adhering to the theory of repetition and difference
by Steve Neale.
 This is the idea that following conventions of a genre can have a generic outcome.

11. REPRESENT
ATIONS
In our sequence, we represent:
a group of teen boys running an illegal
business as anxious and panicked
The living room as filthy and un-kept
The police as diligent and persistent
Oska as a leader

12. The facial expressions of the
boys are deliberately
concerned with furrowed brows
and gritted teeth.
The wide shot depicts the
scramble, with one boy
running towards the camera
in a frenzy.
The handheld shot creates a
chaotic feel.
We used pleonastic noises of
the spilling of the security
tags, lifted in the mix,
alongside drill music
overlapping.
The editing pace becomes
rapid after the boys receive
the text to reflect the
increasing levels of panic.

13. Pull focus from the
weed bag to the
crushed redbull cans
lying around.
Gaming noises in the background
to depict laziness and
carelessness
Very slow editing pace to
mirror the laziness and help
the audience pick out the
pieces of mise en scene.
Crisp packets scattered
and discarded on the
kitchen countertop.

14. Extreme close up of doorbell
ring and shot through the
other side of the door.
Doorbell in sync with the
music to emphasise the
ring
Cross cutting from the
scramble to the police
knocking
Police look through the
letterbox and into the
windows

15. Mid shot of oska in
the centre of the
screen
The only character to have a spoken
line “shit, cops are coming”
Dominates screen
time as he is present
when the final title
is displayed.
Is the boy who opens the
door to the police and
receives the warning.

16. We have utilized the
theory of binary
opposition, by Levi
Strauss, between the
boys and the police,
creating juxtaposition.
Butler’s theory of
gender performativity
is also present as the
boys are stereotypically
masculine, epitomizing
troubled teen boys.

17.  LEVI STRAUSS- in this case we have somewhat
adhered to stereotypes, but haven’t in some areas.
The professional nature of the police is often
depicted in the media, however in reality there is
backlash against the police being a corrupt and
violent system.
 BUTLER- we have fully adhered to the stereotype
of boys committing more criminal activity and not
challenged gender performativity