The documentary analyzes street art in London through interviews and footage of artists at work. It begins with an establishing shot of the city and titles that set up street art as the topic. Interviews with artists establish that street art is widespread across the city and influences many people. Artists discuss their passion for creativity and how they create unconventional artworks in public spaces. The documentary follows artists as they work, using various shots that show their dedication and spontaneity. It concludes by showing the finished artworks that have become spectacles for the public.

1. Textual Analysis 2:
Channel 4 3 minute wonder “Street Art”
By Jack Archer, Alex Duckett and
William Laufs

2. **Opening Title:
(00.00- 00.05 secs)
O The 3 minute wonder begins with an
establishing shot of the ongoing
construction of a city skyline, using
the time lapse video/photography
technique. This therefore connotes
how street art is becoming
increasingly popular among people
in Britain, which is further explored
later in the short film. Then, a
rhythmic, dissonant score
crescendos into play connoting how
there are various examples of “art”
and that street art is one of these
examples.

3. **Documentary Title:
(00.05- 00.07 secs)
O The use of another establishing shot
here connotes how the street artists
use the streets as their canvas.
O The title, consisting of the spray
painted words “STREET ART” using a
stencil, immediately engages the
audience and connotes the topics
raised in the 3 minute wonder.
O In addition, the use of a hand held
camera here further connotes how
street art is subjective and that the
audience for this shirt film is niche as
street art in itself, is subjective.

4. Medium Shot of Woman (Voice of
Authority) (00.07-00.18 secs)
O The 3 minute wonder then cuts to
medium shot of woman, as the
camera tilts upwards and pans right
to follow the woman as she talks
directly to the camera via diegetic,
voice of authority dialogue. These
technical elements and camera
movements, accompanied by the
inclusion of street art in the
background and a long take of the
shot connotes how the distribution of
street art in London is widespread
and influences many people across
the city. The use of the Voice of
Authority here is conventional for
Expository Documentaries like this
one.

5. 00.22-00.28 secs…
O Slightly later on the 3 minute wonder, the camera
then cuts to a long take of “Sweet Toof” at a
medium shot as he discusses what art means to
different people via diegetic dialogue as a non-
diegetic, rhythmic score is heard. The closeness of
the shot accompanied by the other technical
elements mentioned connotes how “Sweet Toof”
has a passion for creativity.

6. 00.32-00.48 secs…
O At this point of the camera cuts to a series of short,
hand held camera takes whilst the rhythmic, non-
diegetic score is still heard. This connotes the
unpredictability and the expansive imaginations of
the artists and emphasises how they do small
projects in various locations.
O Furthermore there is a eye-line match at medium
shot at around 40 seconds where the male artist
throws a piece of potato art on top of a bus stop.
This connotes the artists passion for his work.

7. 00.52-01.20 secs...
O At this point in the clip, there is montage footage shown
with more short takes as the artist, via a non-diegetic
voiceover describes how he does his artwork.
Throughout, there are many close ups as well as a few
medium long shots of the artist doing his work. These
shots and the voice of god together connote how the
artist is focused on his work, and the distance created
by the long- distance shots connote how he has little
surrounding him that distracts him, showing his
determination and passion for his work.

8. 01.20-01.23 secs...
O At this point, there is a sound bridge as the artist is
shown at a high angle, medium shot as he
describes the state that his finished work is left. As
he describes them as being “unattended”, the
technical elements mentioned connote the
vulnerability of his projects in the open air.

9. 01.33-01.36 secs...
O There then follows a still, medium close up of the
artist in ambient/low-key lighting as he describes
how his work evokes controversy from the general
public. The intimacy created by the shot connotes
how public opinion is topical issue for these street
artists. However, the shot could be read differently,
as the lack of camera movement and low-key
lighting could connote how this artist is not affected
by the controversy.

10. 01.42-01.47 secs...
O At this point, there is an establishing shot of a
building as another artist is painting it, as the
rhythmic score fades out and ambient sound of
traffic fades in. This shot accompanied by the
sound transition connotes how extensive some of
these pieces of art can be and that the artists use
an array of “canvases” for their work.

11. 01.47-01.50 secs...
O The camera then cuts to a medium long and off-
centre shot of the artist after a sound bridge is
heard as he discusses his current art project.
These technical elements and that the artist is not
centre shot connotes how his work is important to
him.

12. 01.56- 02.01 secs...
O There is the a series of short takes varying from an
extreme long shot to a medium shot and as well as
camera angles, whilst a non- diegetic, rythmic
score is still heard. This could connote the
subjectivity of street art and also how hard these
artists work to complete their projects.

13. 02.04-02.09 secs...
O The camera then cuts to a series of shots that
follow the same artist’s movements, such as the
high angle then low angle, medium close ups with
slight tilts upwards and held hand medium shot
followed by the medium long shot. There is also
ambient sound of traffic and other city noises. This
connotes the judgements made by the general
public when viewing the street art.

14. 02.12-02.17 secs...
O A little further in the clip, there then follows an
extreme long shot, medium shot and then another
extreme long shot of the finished piece of art, all
with hand held camera and ambient diegetic
sound. These technical elements connote the
sheer size of the artwork and how it is now a
spectacle and an attraction to the general public.

15. 02.20-02.31 secs...
O Later there is a sound bridge as there is a long take of
the artist “Sweet Toof” as he is shown at a medium close
up talking about how he got into art, connoting his
feelings of nostalgia and how art has important a
significant part of his life.
O After this there is montage footage of “Sweet Toof” as he
works on various projects at a close up, long shot and
medium close up, with a non-diegetic voice of God also
being heard alongside a rhythmic, dissonant score
connoting his passion for sculpture, emphasised from
his non- diegetic speech.

16. 02.40-02.45 secs...
O At this point in the 3 minute wonder, there follows a
high angle, medium close up of a book with various
designs being blown by the wind, connoting the idea of
how artists have a vivid imagination, followed by
various short takes of artists running at medium long
shot painting on a side street wall. As these shots have
a distorted picture, this could emphasise and connote
the spontaneity of the whole process of creating street
art.
O This is then further emphasised when “Sweet Toof”
later in the clip says, via non- diegetic voiceover that
with street art it is more “spontaneous”.

17. 02.52-02.58 secs...
O Here, accompanied by the rhythmic, non- diegetic
score, the short take of the low angle medium shot of
the artist spray painting connotes the physical strain on
the artists to complete the work due to time constraints.
O There then follows more montage footage with a series
of short takes as more artists work on the artwork.
Accompanied by the diegetic ambient sound of the
streets and the non- diegetic voice of God of “Sweet
Toof”, this connotes the dedication of the artists to
complete their project(s).

18. 03.03-03.09 secs...
O From this point, there is more montage footage as the
interviewer from the beginning of the 3 minute wonder
asks a question to “ Sweet Toof” via non-diegetic
dialogue/ voiceover. As this occurs, there is the
inclusion of short takes as the artist is shown at
medium, long and medium long shot as he continues
working on the street art, whilst the non- diegetic
rhythmic score is still heard with ambient diegetic
sounds of traffic.
O This therefore connotes the progression of the artwork
and further emphasises how they are under pressure
to complete the art and “How the London scene’s
developed”.

19. 03.20-03.25 secs...
O Finally, the 3 minute ends with a split screen of the
finished artwork at various distances. As this happens,
a non- diegetic, rhythmic and dissonant score
crescendo’s until ambient diegetic sound is no longer
heard. This connotes the sense of accomplishment the
artists gain from completing their work.
O The 3 minute wonder then ends with two successive
extreme long shots of the finished artwork, with traffic
passing through the screen. This therefore further
connotes how the artwork is now a new spectacle for
the passing public to view.