Monday, 23 November 2020

CUFFS Q1 AND Q2

 

CUFFS Q1 AND 2

Analyse how camerawork is used in the extract to create meaning. Refer to at least two examples from the extract in your answer. (5 marks) 

2. Analyse how far the extract creates a humorous view of policing. In your answer you must:

·                     analyse aspects of the extract using examples to support your analysis

·                     make judgements and draw conclusions about how far these aspects create a humorous view of policing. (10 marks) 

Example of how to answer on camerawork:

·              ·  sweeping aerial shot of Brighton pier connoting a glamorous seaside location

·              ·  bird’s eye view of the small police car driving through

the streets of Brighton on a call-out, carrying connotations such as danger, excitement, and urgency

·              ·  the use of an over-the-shoulder shot of the beach sign, as we arrive at the sign at the same time as the police officer, connoting surprise and anticipation of what is to come

·              ·  slow pan / track of the new recruit police officers as they are introduced to the audience connoting authority and power

·              ·  high angle long shot of the beach scene showing the police officer outnumbered by the group of men on the stag do

·              ·  any other relevant analysis 

1.      Camerawork is used in the extract to create meaning by using a reaction shot when Jo is asking the father of the boy they want to question if it is alright to do so. The father then goes on to explain that when the police were needed like when his son was shouted at on the bus and his mother was abused in the street they weren’t there to help so why should he help them. The reaction shot is used twice while the father was explaining this and Jo’s face was very sympathetic and it gave off an impression that she did truly feel guilty.

Another way that camerawork is used to create meaning is when an over the shoulder shot is used while Ryan approaches his son whilst he was hanging out with his friends instead of being in school. Similar to the reaction shot, it shows how his son reacts to having his dad shouting at him and his friends and it also shows his friends reactions in the background too. By doing this type of shot it makes the viewer feel as if they are more included as it looks like they are in the situation themselves standing behind Ryan.

2.      The extract creates a humorous view of policing because you get to see more of what it is like dealing with the public from the police officers view. For example, when Jake is attempting to make his first arrest on a woman who is trying to steal something from a shop, the woman picks up on the fact that he is new and inexperienced so uses it to her advantage and begins to take her clothes off in the middle of the street and grab onto his arm as if he is assaulting her. Obviously, this isn’t very funny for Jake because it was only his first time arresting someone and, in the end didn’t even succeed and was very embarrassed from the situation, but from the audience’s perspective it is very entertaining. Therefore, one way that the extract creates a humorous view of policing is because you can understand how the character must have been feeling in the situation and if it was you, you wouldn’t want people to be laughing at you but since it isn’t it becomes very entertaining as you are glad it isn’t you.

Another way that the extract creates a humorous view of policing is when the police officers are at the police station after arresting the two women and instead of treating the situation seriously as you might expect them to act, they instead start discussing where they think she is from and end up making jokes about one of them being Italian by saying that they have some lasagne stuck between their teeth. Therefore, by making comments like these, it creates a new view of what policing can actually be like in the viewers head and that it isn’t all about fighting and being serious but can actually be quite funny and enjoyable to watch.


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