The document provides an analysis of the 2000 crime film Snatch and the 2012 film noir remake Brighton Rock. For Snatch, it summarizes the protagonists and antagonists, and analyzes elements of the narrative structure, camera work, editing, sound, and conventions referenced from other films. For Brighton Rock, it summarizes the characters and narrative beats in the trailer, and analyzes the film's camera work, editing, and stylistic homages to the original 1946 film noir.

1. F I L M T R A I L E R
A N A L Y S I S

2. S N A T C H
• Snatch (2000) is a hybrid British
Crime film using iconography from
the 40/50’s. This means that it
incorporates films such as ‘A fish
called Wanda’ and ‘A fist full of
dollars.’ Furthermore with
characterisation and themes from
1980’s gangland such as ‘The Long
Good Friday’ and heist films like
‘Reservoir Dogs’. Within this film
the post modern elements include
high art editing, challenging
representations of character
archetype and narrative themes

3. • The Protagonist and The Helper
- Turkish a promoter for the dangerous underworld of
non-licensed boxing and Tommy his helper in criminal
activities, they are the typical antihero archetype of
crime films due to the appearance of a ‘sidekick’ a
good example of criminal activity infamously being
done is pairs in television series Only Fools and
Horses which centres around blackmarket sales in
London but is mostly a comedy sitcom.
• The Second Helper
- Mickey Oniell, is a gypsy, this is typical to a British
crime stereotype due to many gypsies being involved
in organised crime there fore brings a sense of socio
realism into the film. Turns out to be a portrayed in his
characterisation as a good person.
• The Antagonist
- Cousin Avi is a diamond jeweller from New York and
the stereotypical lead character with lots of control and
respect, apart from this following conventions of being
the main antagonist, he is the puppet master over
many ‘minion’ characters that is typical within the crime
villain archetype.
• The Second Antagonist
- Brick Top is a typical mafiosa/gang lead character
within the film, he is one of the leads of the
underground boxing world.

4. NARRATIVE
STRUCTURE
• Act 1 - Introduces the narrative Equilibrium within trailer.
Themes included within narrative of trailer are: diamond
heist by American gang which is hinted at by the main
protagonist character Turkish, he is also entwined with
the secondary plot narrative of the criminal boxing
underworld
• Act 2 - The Disruption of Equilibrium which is a typical
narrative device within crime genre. Highlighting this
disruption is the key texts are ‘’Where is the stone’’ which
hints at a heist plot and ‘’you’re going down’’ hinting at
the narrative devise of a rigged set of fights. There is
then a typical trailer device of using a montage of action
shots shown within the fight.
• Act 3 - The cast are introduced in post modernist ways
such as Time-Remapping, spaghetti western influenced
sequences to hint within the trailer of an attempt to fix the
disruption of Equilibrium without giving away the plot.
The graphics used have the conventions of another
media product - Graphic Novels

5. CAMERA AND MISE EN
SCENE
• Props are used within the narrative to establish a clear iconography
of genre within the film E.g Diamond hints it is inspired by elements of
Heist Crime. Guns fit the conventions of the crime genre.
• Costume design such as characterisation of boxing clothing fits with
the story line of the criminal boxing world and within the criminals
dress code trench coats for instance are often typical of rich but
shady characterisation within films. The costume design could also
be said to be a feature Ritchie is using to challenge representations
of criminals in a post modernist way.
• Low Key lighting used throughout give it a ‘Film Noir’ element which
could be a reference to other British crime films such as the original
Brighton Rock. Half lighting is used throughout on characters to
create a more dark feel which is typical to crime films as colour
grading is often used. Furthermore the dark lighting goes well with the
dangerous element of non-controlled rigged boxing matches.]
• Skewed/ Off frame framing is used within the trailer to give it a post
modern element to the audience. It helps the audience feel uneasy
towards the narrative and characters whilst watching the trailer
• Setting of the trailer establishes the crime film conventions within the
film including establishing the bleak underworld of bare knuckle
boxing.

6. EDITING
Editing within Snatch can be defined by the use
of certain ending techniques.
The post filming element of time remapping (Guy
Ritchie uses this element of editing within his
films a lot and is infamous for his use of this type
of editing) he uses this to accentuate action
within scene and both tell and excite the
spectator of his characterisation.
Another feature of editing that could be said to
be post modern within his work is Ritchies use of
‘still framing’ as an anti-narrative device. This
helps highlight key frames of action to the
audience. Furthermore with the voiceover of
Turkish it allows the audience to connect with
the protagonist throughout the trailer.
Still frames are also used to highlight characters
using heavily stylised graphics. This could be a
homage to other media outlet styles therefore is
very post modernist

7. SOUND
• Fast paced non-diegetic ‘remixed’ dance music
is used to drive the action within the trailer.
• Remix of the 1970’s iconic ‘’Apache’’ is used
within the trailer as it is iconic bongo band
drumming within the trailer.
• Voiceover - using Turkish (protagonist) to define
the narrative features within the story arch and
it’s themes within it. An anti-hero with his dialect
establishes the ‘crime caper’ elements within the
film.
• Diegetic sound from background foley and the
characters dialogue is used to help drive the
narrative and give the story an element of
realism.
• Non-diegetic sound is used to speed up visual
and editing techniques, and edit transition more
smoothly to the audience.

8. BRIGHTON
ROCK
Brighton Rock (2012) is the remake/ pastiche
of the iconic Film Noir 1946 film of the same
name by John Boulting and the original iconic
book. It has taken the original narrative from
the 1946 and updated it by moving it from the
1930’s to the 1960’s allowing it to have iconic
imagery such as the mod-rocker movement. It
has a lot of intertextuality and bricolage of
other movies within it as well meaning it is a
very post-modernist film.

9. CHARACTERISATION
• The Protagonist - Pinkie Brown - Stereotypical gang crime
character, has elements of film noir characterisation.
Characterisation is typically that of a cold hearted
antagonist and is therefore an anti-hero main character.
Was a son figure to a gang leader who was murdered by
the ‘victim’ of the narrative
• The Antagonist/Helper - Frank Splicer - British gangster
archetype, middle age, has a dream of moving away from
his gang life nature.
• The Damsel - Rose, has witnessed Pinkies first major
crime, although the typical damsel archetype
unconventionally has power over the Protagonist.
• The Female Antagonist - Mrs Arnold, connected to the
three character archetypes of the victim, the damsel and
the protagonist. Is stereotypical to the conventions of crime
as she is a ‘slueth’ archetype.
• The Victim - Fred Hale, connected to Pinkies predecessor.
Conventional to crime films due to gang war mentality

10. NARRATIVE
STRUCTURE
• Act 1 - Equilibrium - Hints at disruption with the non-
diegetic use of dark music throughout the narrative
of Act 1, which conventionally suggests violence. It
is furthered by the filming style of low key lit sets.
• Act 2 - The Disruption of Equilibrium - The murder is
hinted at. Violence is shown, the victim Fred Hale is
seen talking to the protagonist and helper
characters, they are then seen talking to talking to
the damsel in distress archetype of Rose. Mrs
Arnold is shown as a strong female archetype with
hints of ‘Femme Fetale’ characterisation.
• Act 3 - Hints at Restoration of Equilibrium, by
showing Pinkie being less violent towards ‘the
damsel’ character including the sentence ‘Your
good and I’m bad and we are made for each other’
with cliche romance kiss. There is also the element
of characterisation seeing Rose isn't scared of his
violent characterisation.

11. CAMERA/ MISE EN
SCENE
• Low key lighting and use of half shadow gives the film a
film ‘noir’ style, furthermore the use of Sepia within the film
could be a pastiche element of the previous Brighton Rock.
• Costumes are used in two ways. Firstly they are used to
bring forward the era to the 1960’s with the use of the mod-
rocker style within the film, and clothing that Pinkie wears
being conventional to the typical gangster archetype.
Furthermore it is used to define character Rose is shown
wearing mostly pastel colours including whites and pinks
this is supposed to define her innocence within the story
line and also define her love towards Pinkie.
• Props are used within the film to build on the mise-en-
scene not only do they define a certain time period but the
use of vespas are a reference to infamous mod-rockers
races that went on in the 60’s, furthermore the use of
photographs build on the narrative structure, and the use
of rocks being used to hurt somebody builds on the mise-
en-scene due to Brighton being famous for its rocky
beaches.

12. CAMERA/ MISE EN SCENE
continued
• Reflections are used to show faces,
this is a common convention of crime
thrillers
• Pastiche is used throughout the movie
to reference the original film, such as
the charecterisation of Pinkie and
features such as a cut that appears on
both Brighton Rock ‘Pinkies’ cheek.
• There are many interesting shots that
suggest that there is an unstoppable
deadliness coming to Brighton, this is
narratively shown within the trailer in
its opening shot

13. EDITING
• Within the trailer it conforms to a lot of crime trailer
conventions such as simplistic cuts between action,
transitions throughout the trailer and film noir
pastiches such as fades to black, this is then
furthered by the use of old film camera flash being
used to transition to the next shot in the beginning
of the trailer, this is supposed to convey to the
audience as sense of realism within the film.
• Fast editing techniques to convey to the audience
flash backs to the murder scene. This allows the
audience to see the conventions of gang violence
within the film.
• There is a use of regional iconography used within
the editing by having a static shot of the pier appear
whilst showing a title card. This is used to convey to
the audience a time scale. This is then furthered by
by silhouetted shots which again conveys to the
audience sense of time.

14. Sound
• Sound conventions include the use of voice over
used as an introduction of two main characters within
the trailer ‘Pinkie and Frank’ this is then furthered by
building on characterisation, as they are made to
have a threatening voice, which further builds on
there characterisation within the trailer. It is Post
Modern due to the fact two voiceover’s is not
convention within the crime genre. As crime films are
usually from one perspective, there for having a dual
narrative is unusual.
• Lots of diegetic sound is used to create atmosphere
and iconography that is focused on Brighton such as
Seagulls, Waves.
• Dialogue is used to set up to story to the audience, it
is conventional to the crime genre due to its
language being mostly threatening, however there is
also conversational dialogue in the trailer which is
used to convey the opposing films throughout the
film.

15. L O C K , S T O C K A N D
T W O S M O K I N G
B A R R E L S
• Lock, Stock and Two
Smoking Barrels is a hybrid
British Crime Comedy
Thrillers that also have the
conventions of Heist Films,
as it already has conventions
of Comedy it could also have
elements of Caper films such
as ‘A fish called Wanda’. The
film also has elements of
blaxplotation plot archetypes.

16. • The Protagonists are a group of four long-time
friends and small time criminals - Eddy, Tom,
Soap and Bacon, the main protagonist within
those four the main protagonist is Eddy a
genius card sharp, they follow the conventions
of crime films due to being centred around a
close nit group of criminals .
• The Antagonist - of the film is ‘Hatchet’ Harry
Lonsdale who plays the four protagonist in a
rigged card game, the antagonist element of
his character is then furthered by the fact he
choses Eddys fathers bar as his stakes to take
• Second Antagonist - Dog - The Mastermind
behind a marajuana heist that is overheard by
the four protagonists.
• The Antagonist helper - Big Chris - Is a debt
collector called to work under Hatchets work,
this is typically conventional to crime films due
to debt collectors being a common character
within crime.
CHARACTERISATION

17. NARRATIVE
STRUCTURE
• Act 1 - Equilibrium - Hints at disruption with the non-
diegetic use of fast paced music, within this hints of
criminal activity is shown by the depiction of card shuffling,
bullets, and around the poker table and stakes being
stated, this conventionally suggests that it is underground
non official gambing, furthermore a character is shown
saying he wouldn't play card games, but it opposingly cuts
to cards being dealt out
• Act 2 - Disruption of Equilibrium - Defined by the statement
of narrative ‘The poor guys got in deeper than they can
handle’. Throughout this state they define the comedic
aspect by several sarcastic comments, and they show the
audience the conventions of crime by showing guns and
threatening violence within this stage. Furthermore the
introduction of a secondary gang gives a further element of
the story arch within the narrative structure
• Act 3 - Resolution of Equilibrium, it conforms to crime
conventions by not hinting at the outcome of the state of
disruption but leaves the ending a mystery, whilst building
up anticipation of violence and action within the film

18. CAMERA AND MISE EN
SCENE
• Low key lighting used within poker scenes, to fully
immerse the audience into the underground
conventions of gambling with high stakes
• The use of props within the trailer are used to fit
the conventions of the crime genre - this is shown
by the appearance of guns, suitcases, lots of
money and poker chips. Furthermore the use of
certain props are used as prop devices like
McGuffins to keep the audience engaged with the
narrative
• The use of costume within the storyline are used
to make the conventions of the settings have an
element of realism such as the four protagonist
dressing typically to there age.
• Homages to films like James Bond that sometimes
feature Poker games could be being referenced
within the trailer.

19. EDITING
• Within the trailer it conforms to a lot of
crime trailer conventions due to its use of
simplistic but fast pace cuts between
scenes.
• There are a lot of fast place cuts between
different shot types such as close up to
mid shot, which conforms to the fast pace
conventions of the crime genre
• There is a use of title cards that are used
effectively that conform to post modernist
elements. ‘4 friends, 3 days, 2 guns’
• Transition between setting is quite broad
and differentiates in the film therefore this
is quite a post modern feature

20. Sound
• There is a use of voice over towards the latter
part of the trailer that goes in conjunction with
the use of title cards.
• Fast pace pop/ jazz music is used within the
trailer as non-diegetic sound to set the scene.
• Lots of diegetic sound such as poker chips
and the sound of bullets being shot are used
within the trailer, this builds up a sense of
realism to the audience.
• Dialogue is used to set up to story to the
audience, it is conventional to the crime genre
due to its language being mostly threatening,
and the sociolect and accent also builds on the
effectiveness of the use of dialect.