http://www.bfi.org.uk/education-research/teaching-film-tv-media-studies/bfi-media-conference
This blog is for those students who are studying Media and Collective Identity for the A2 OCR Media G325 paper. Media and Collective Identity is one of six topics included in the Section B.
Below are the four prompt questions from the OCR Specification - basically the type of question you could expect in the exam.
How do the contemporary media represent nations, regions and ethnic / social / collective
groups of people in different ways?
How does contemporary representation compare to previous time periods?
What are the social implications of different media representations of groups of people?
To what extent is human identity increasingly ‘mediated’?
OR How does media influence collective identity?
Candidates might explore combinations of any media representation across two media, or two
different representations across two media. We mainly did TV and Film, but there's bits of advertising on this blog, comics, newspapers etc.
The collective we studied was BRITISH YOUTH. (The British bit was mainly there so we don't have to worry about all the Hollywood coming of age films.)
Clicking on the above links should take you an attempt to answer these questions. These aren't the right answers or even a suggested essay plan - just several ideas of how to tackle the question, links to examples and articles, and to be fair, a bit of waffle. They should be use to supplement your own ideas and approach.
Also on this blog are clips, reviews and articles related to the texts we viewed and used during the course. The clips are important as you must back any arguments or views, during the exam, with specific examples.
How I suggest you use this blog - is look at the Prompt questions, see if the content in these post make sense. If not explore the blog using the tags.
Lastly please leave comments - any suggestions on what you find useful or not, or accurate or not would really be helpful.
]]>http://www.wired.com/2011/10/you-are-not-your-name-and-photo-a-call-to-re-imagine-identity/
http://boingboing.net/2014/12/31/how-imageboard-culture-shaped.html
http://planner.se/2010/03/generation-i-the-fallacy-of-individuality/
http://pubs.socialistreviewindex.org.uk/isj79/cox.htm
https://www.gov.uk/government/publications/future-identities-changing-identities-in-the-uk
http://m.vice.com/en_uk/read/neknominations-are-the-last-subculture
+
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How do media representations influence collective
identity?
This is slightly different to the prompt question of ‘how is human identity increasingly mediated’, as it asks how media influences a collective rather than individual identity. The medias influence on individual identity can of course be included in this but you have to be sure to answer the specific question.
This question has also appeared in the exam in the following
form:
'The media do not construct identity; they
merely reflect it'. Discuss.
Here you to weigh up how influential the media is in constructing identity, with this quote suggesting it isn’t influential at all – a position that you should argue for and against. Here is doesn’t specific collective or personal identity – so both could be used.
Here is a structure you could use for the question in the header
How do media representations influence
collective identity?
Remember that to
answer any question you need a combination of theory, quotes, references from
case studies from TWO forms of media (TV, film, adverts, pop videos), reference
to past representations.
Define
collective identity.
‘A collective
identity may have been first constructed
by outsiders who may still enforce it, but depends on some acceptance by those
to whom it is applied.’ Poletta & Jasper
Taking this is as start point we can assess
the influence of the media of the two main participants in the construction of
collective identity:
a) The outsider: the adult world
b) The collective: UK youth
a) What sort of representations do the adult world receive?
Demonisation (give an example – news,
Harry Brown, Eden Lake)
Popular notions of adolescence (forming identity, storm and stress – specific examples,
Inbetweeners, Youngers)
Just how influential are these
representations:
Louis Althusser - the
power of the mass media is in its ability to present a subject in a particular
way and have the their representation of that subject become a reality.
You could mention that the adult world has historical been fed very similar representations (demonisation – mods and rockers hysteria, popular notions – Billy Liar). This brings in the idea that the media perpetuates existing ideas and representations.
b) What
sort of representations do UK Youth receive about themselves?
Bombarded with messages of what youth and growing up should be about that fall
in line with the popular notions of adolescence:
Young and reckless, having fun: Tulisa,
Samsung Jet advert
Identity formation/coming of age: Away Days, Submarine
Experimentation and partying: Inbetweeners, Skins
Just how influential are these representations:
Judith Butler -
Identity is a performance (that includes the daily behaviour of
individuals) which is based on social
norms or habits. You are what you do.
The media informs these social norms and therefore influence identity.
AND the popular notions of adolescence can be seen as the ‘real
or imagined shared attributes and experience’ that David Snow argues are needed
to create a collective identity. So UK youth become
aware of these shared experiences due to the media and therefore understand
they belong to a collective identity because of the media.
At this point you could reflect and see that using this argument that the media
is very influential in constructing an identity.
COUNTER ARGUMENT
David Gauntlett
‘The power relationship between the media and the audience involves - a lot of both. The media sends out a lot of messages about identity and acceptable forms of self-expression, gender sexuality and lifestyle. At the same time, the public have their own, even more robust, set of diverse feelings on the subject. The media’s suggestions may be seductive, but can never overpower contrary feelings in the audience.’
“The role model
remains an important concept, although it should not be taken to mean someone
that a person wants to copy. Instead, role models serve as navigation points as
individuals steer their own personal routes through life.'
This is the idea that individuals use media and representations to help inform the construction of our identity (and collective identity), but the media is not all powerful, we use it selectively.
How
collective identities explicitly used the media to construct identity
Youth - Sub Cultures
The
significance of subcultures for their participants is that they offer a
solution to structural dislocations through the establishment of an achieved
identity - the selection of certain elements of style outside of those
associated with the ascribed identity offered by work, home, or school. - Michael
Brake
Brake argues that subcultures form as youth
have a desire to control their collective identity beyond what has already
shaped them (class, education), and construct this identity with ‘selection of certain elements of style’. This
selection include music, fashion and film. (E.g Mods (Italian culture, R’n’B
Tamla), Rockers (Marlon Brando/James Dean, rock’n’roll).
There is an argument that is the media has hampered the development of youth
sub-cultures as new movements have no time to grow organically before the
culture is marketed, commoditised and sold back to the youth:
Children
and Youth are a distinct social group and want to be treated as such. A successful
example of this is the TV Channel Nickelodeon where it’s all about kids; their
views, interests, not being adults, about being fun and innovative. It gives
children a sense of empowerment. But we must remember that adults have sold
this empowerment to them. So this idea of independence is not true it is more
about enabling children to be independent consumers but masquerading it as
social rights. - David Buckingham
Young people’s use of digital and social Media
‘Convergence does not occur through media appliances,
however sophisticated they may become. Convergence occurs within the
brains of individual consumers and through their social interactions with
others. Each of us constructs our own personal mythology from bits and
fragments of information extracted from the media flow
and transformed into resources through which we make sense of our
everyday lives.’ – Henry Jenkins
How could this be applied to Facebook, Twitter and Tumblr usuage.
Conclusion
Sum up what you’ve just said and evaluate which of the
arguments you believe is stronger.
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Analyse the ways in which the media represent groups of people.
This is one of the prompt questions and has appeared in the exam MOST years in different forms:
Analyse the ways in which the media
represent one group of people you have studied.
With reference to any one group of people that you have studied, discuss how their identity has been 'mediated'.
Discuss how one or more groups of people are represented through the media.
Analyse the ways in which at least one group of people is 'mediated'.
If
the word MEDIATED comes up here’s a
few ideas about it to include in an introduction
which then allows you go on to talk about your case studies.
"Mediation is the process of the
representation of events/people through the media." Gurevitch & Roberts
Mediated experiences make us reflect upon and
rethink our own self-narrative in relation to others - Gary Giddens (1991)
Almost
everything we see comes to us through the media prism which in turn colours not
just our view of this life but our own self-definition.
Thomas de Zengotita, Mediated: The Hidden Effect of the Media on You and Your
World (2005)
The word mediated is another way of talking how the media represents things, but
a word that emphasises the idea that representation is a CONSTRUCTION of
reality – fore-grounding, selecting, filtering reality.
Also in
your introduction mention what collective identity you have studied (UK youth)
and maybe what media types you have looked at (film, news, TV, advertising,
music video).
Use the following headers
to structure a response to the above question – what YOU must do is look for
SPECIFIC examples (key scenes/characters) from the texts we have studied and
explain why they are appropriate. Ensure they are CONTEMPORARY examples (from
the last 5 years).
You can mention past representations (Billy Liar, Press Gang, Kids Rule OK) but ONLY in comparison with the contemporary ones to highlight a certain point.
E.g. Jay in Youngers, while a very contemporary representation
in terms of issues (gang violence, multi-culturalism) and mise-en-scene (urban
street culture, South London), has many similarities with the lead character
from the 1963 film Billy Liar… (multiple girlfriends, aspirations of fame,
conflict with family).
You can also discuss the future of representation of UK youth and if you believe it will develop or will it continue in similar way. What factors could change this?
1) Youth are often represented in accordance with popular or hegemonic notions of adolescence
a) ‘A period of ‘storm and stress’ characterised by intergenerational
conflicts, mood swings and an enthusiasm for risky behaviour.’
G. Stanley Hall (1906)
b)
‘Adolescence is conflict between identity and ‘role confusion’. Resolving this
conflict involves finding a settled role in life. If unsuccessful this results
in ‘maladaption’ in the form of fanaticism or the rejection of adult
responsibility.’
Erik Erikson (1968)
c) Adolescence is a critical period of
identity formation in which individuals over uncertainty, become more
self-aware of their strengths and weaknesses.
Erik Erikson (1968)
d) Adolescence is primarily a state of
transition, a matter of becoming rather than being.
e) Continuing ‘confusion’ about one’s identity is a mark of incomplete
development and may result in deviant or antisocial behaviour.
Erik Erikson (1968)
2. Youth are often ‘demonised’ the mass media.
To demonise: to represent as diabolically evil.
‘Demonisation can only come about if
there is some collective identity to point at.’ – Stanley Cohen (Folk Devils
and Moral Panics)
a) ‘We
found some news coverage where teen boys were described in glowing terms –
'model student', 'angel', 'altar boy' or 'every mother's perfect son', but
sadly these were reserved for teenage boys who met a violent and untimely death."
‘Hoodies or Altar Boys’
b) ‘the true horrors we
fear day to day are not supernatural bogeymen or monsters created by
scientists. They're our own youth.
Daily Mail review of Eden Lake
c) ‘I was reminded of
something that the late Alexander
Walker, film critic of the London Evening Standard, once wrote about
Kubrick's Clockwork Orange: we hate
and fear our children - because they are going to kill us.’
Peter Bradshaw- Guardian – review of
Eden Lake
3. Youth are represented as being let down by adults
a) ‘Parents aren't always
around to help socialize their children — or even just to show them affection.
Compared to other cultures, British kids are less integrated into the adult
world and spend more time with peers.
Britain’s Mean Streets, Time Magazine
b) “Young people want to
make healthy and informed decisions… but until now, too many have been let down
by the education system. “Katrina Mather, 16, Member of Youth
Parliament
4. Youth are represented as part of a subculture
‘The role of youth culture involves offering
symbolic elements that are used by youth to construct an identity outside the
restraints of class and education.’
Michael Brake
c) ‘Youth re-appropriate
artefacts which creates group identity and promotes mutual recognition by
members.’
Jonathan Epstein
5. Alienation – youth are represented as being estranged from parts of society
a) “The Youth are prohibited from speaking as moral and political agents.” Henry A. Giroux
b) ‘Adolescence is a
growth period conducive to alienation due the ‘betwixt & between’ nature of
the this particular position in life-course.’ Calabrese
c) Young people do not trust older generations.
6. Youth are product of the society they were born into, and often embody the faults and fears of adult society.
“Prohibited
from speaking as moral and political agents, youth become an empty category
inhabited by the desires, fantasies, and interests of the adult world.” Henry
A. Giroux
7. Representations of UK Youth are often nostalgic and romanticized
a) ‘Adolescence
is the most intense of life-stages. Amidst its swirling emotions, raging
hormones and many-fronted conflicts, we shape the identity that will stay with
us into adulthood. Few of us emerge from this ordeal with our self-regard
unscathed. Perhaps, though, we want to believe we did. - Submarine shows us
how… flattering those who are safely beyond the torments of their youth.’
David Cox (Guardian)
b) ‘Recent research has pointed to the dangers
of romanticising youthful resistance and the tendency to overstate the political dimensions of youth culture – these
days youth cultures are increasingly diverse and fragmented as “scenes” or
“lifestyles” to which young people may be only temporarily attached.
David Buckingham, Introducing Identity
]]>
How dare we be so beautiful?!
On the
teenager portraits of Rico Scagliola & Michael Meier.
http://tacohiddebakker.com/texts/how-dare-we-be-so-beautiful/
An androgynous character dressed in white shoes, jeans, and a nearly half-open
black shirt sits relaxed and slightly leaning forward by a tiny pond in a
garden, posing for a photograph. (S)he is looking downwards at his/her mirror
image, reflected from the surface of the water. This image, in its general
composition not quite unlike Caravaggio’s painting depicting an actively
forward-leaning Narcissus, offers some clues about a giant photographic
enterprise which resulted in a multimedia installation named Double Extension
Beauty Tubes, combining still and moving images with a soundtrack, and a hefty
paper volume called Neue Menschen (New People).
Collaborating with teenagers over the course of almost three years from 2008 until early 2011, Swiss photographer duo Rico Scagliola (1985) and Michael Meier (1982) had accumulated a vast archive of about 8,000 photographs, showing a cross-section of some of the more extravagant stylish expressions of teens’ subcultures of the day. According to Rico & Michael, henceforth colloquially calling them like they call themselves via their web site, in an introductory video they produced for the book, it shall be a testimony to the love affair of today’s teenagers’ real and virtual lives. Their cultural life is very much colored by pop and underground music, film, fashion, and the internet. Glimpses of the backgrounds and stages of their daily lives can be seen in some of the photographs; IKEA-styled suburban middle-class homes and poster-ridden bedrooms.
Feeling that somehow they had missed out on their own youth, Rico & Michael started making friends with teenagers and photograph them the way they would like to see themselves and want to be seen. Through film and photography, clearly. Starting to photograph Emos who were hanging out at and around the main railway station of Zurich every night, other youngsters belonging to neighbouring subcultures (Goths, Punks, Indies, Metalheads et cet) were soon to follow. The different groups were blending easily together, and some people would change styles as if changing clothes. Youth subcultures are not as clearly distinct anymore like they were in pre-internet times.
Rico & Michael sensed that the newest generation of teenagers was being dismissed as not having a proper voice of their own. But do people in the midst of the transformation from children to adults ever really have a voice of their own? Adolescence is one of the most formative stages in the lives of human beings for the discovery and development of a voice of one’s own. However, in the technologically advanced world, today’s young generations (often called “digital natives”) are being born into fast-paced digital times, in which developing a vision on the creation and dissemination of images of one’s own is equally important to – if not more important than – the formation of a unique and opinionated voice on real life and public events. Many of the adolescents who were portrayed by Rico & Michael are astoundingly mature in their skills of posing for cameras. In their virtual universes they are masters of masquerade and disguise. They have an almost inborn talent for staging and for compository framing. The boundaries demarcating what is real and what is fictitious are more fluid than ever before. This perhaps being one of the reasons for the disavowal of the new people by older generations (the “analog natives”). Today’s children and teenagers demand to be seen rather than to be heard. Visual style is everything.
Whereas the mythological Narcissus was not aware that he was merely gazing at his mirrored self-portrait, today’s image-saturated youth is very well aware of the carefully constructed artificiality of their reflected myriad selves. The iGeneration falls in love (or tries to do so) with their transformed selves inspired by the appearances of fashionable pop stars (Lady Gaga to whom Neue Menschen is dedicated being the most important), or with their new selves collaged together from bits and pieces found within the gargantuan digital image junk heap. Unlike Narcissus, they fall in love with faces that they recognize as theirs although they have been consciously transformed into other temporary identities. For many of the teenagers who are maturing during the times of facebook and flickr playful metamorphosis and sharing photographs thereof becomes a proof of their existence. This encompasses a self-consciousness that is literally a form of ex-istence – a being out of oneself.
Modern life is one of the best subjects for photography, according to photo-critic Gerry Badger, albeit being a subject that quickly fades into history.(1) Rather than playing the snake biting its tail (photography reacting on other art or photography), photographers make more interesting work when they turn their lenses outward. And what subject could be more intriguing and ambiguous than the teenagers of the image-saturated online age. Photographing teenagers with such a keen visual aptitude means both an inward and an outward turning of the lens. It is a focus on real people as they imagine themselves based on images of other real people.
As quickly as an actual subject may fade into history, it fades into nothing if there is no history to be made through imaginative documentation. A sensitive, imaginative, and collaborative documentary approach is one of the strengths of Rico & Michael’s portrayal of the teenagers. The photographers wanted to blur any clear distinction between their roles as authors and their subject’s roles as models. The kids were as much involved in the image-making process as the photographers, and when they had not yet conceived of how exactly they wanted to be photographed, Rico & Michael would stage and picture them in ways they deemed fitting to their respective self-perceptions. The series is not a documentary about teenage subcultures per se. Most importantly it is about today’s teenagers’ visual awareness, their fashions as an essence of their self-consciousness and their aptitude of cultivating self-images. In Rico & Michael’s words their project is a documentation of “the construction of [the teenagers’] pictured identity.”(2) It is a photographic document of the new generation’s inborn talent for mise-en-scène, for their talents for the staging of oneself as another.
The subversive somewhat provocative undertone of the otherwise tautological title Neue Menschen (the youngest generation is new per definition, physically at least) suggests that teenagers nowadays are somehow radically different in comparison to earlier generations. Is it the hypermedial online world basically informing them from birth on which accounts for this difference? Every change in technology changes the way people behave and interact with each other, and faster changes in technology tend to provoke quicker generation shifts. But in digital wonderland we are all too young still to already come to serious conclusions on this matter. Rico & Michael want to have their book title sound like a big and bold statement and at the same time clarifying that it deals with a contemporary subject. Its actual actuality may be part of history soon, the fantasized photo-selves in Neue Menschen will be forever young. Photographs don’t age any longer and fashion styles are part of an eternal cycle of renewal.
When asked about the importance of documenting the cultures of today’s teenagers, Lauren A. Wright, who in 2011 curated a large exhibition on twentieth-century youth cultures, had an admirable answer: “I think it’s always important to recognize the huge influence of teenagers on our culture past and present, particularly in light of the ambivalent place they occupy. We really do both love and loathe them.”(3) Young people can teach us as much as older generations can teach them. As long as we stay open and never forget about our younger selves within our older selves. In the end, all that Rico & Michael ask from us is to love the kids they portrayed with careful attention and love themselves. If we can’t embrace every teenager around for real, the least we can do is to immerse ourselves for a moment in the fantastic though often dark imagery in which teens show off their roles and their uncertain identities. A praise stronger and more concise than the following comment on a picture that’s up at one of the photographer’s facebook-pages is hardly possible: Luv it pic!
Young
people’s use of digital and social Media
‘Convergence does not occur through
media appliances, however sophisticated they may become. Convergence
occurs within the brains of individual consumers and through their
social interactions with others. Each
of us constructs our own personal mythology from bits and fragments
of information extracted from the media flow and transformed into
resources through which we make sense of our everyday lives.’ – Henry
Jenkins (Convergence Culture)
‘We
interact with others to create an identity. This is called identity
negotiation. This develops a consistent
set of behaviours that reinforce the identity of the person or group. These
behaviours then become social expectations”. - Stella Ting-Toomey
How do you think we could use these quotes to understand how identity is formed online both individually and as part of a collective?
Look at forums,
Facebook, Tumblr, Twitter – have young people constructed a collective identity
by ‘developing a consistent set of behaviours’?
What are these behaviours?
What are the conventions of use of social media? How do you think they
developed?
‘Each of us constructs our own personal mythology from bits and fragments
of information extracted from the media flow and transformed into
resources through which we make sense of our everyday lives.’ Jenkins. Can you identify examples of this use of media on your social media
or others?
http://www.ymresourcer.com/model/subcult1.htm
http://culturelag.wordpress.com/2012/02/12/youth-subcultures-and-delinquency/
http://tacohiddebakker.com/texts/how-dare-we-be-so-beautiful/
http://www.henryagiroux.com/online_articles/teenage_sexuality.htm
http://www.academia.edu/156134/The_Death_and_Life_of_Punk_The_Last_Subculture
http://www.slideshare.net/fullscreen/cigdemkalem/prompt-4/1
http://www.bethinking.org/who-am-i/advanced/postmodernism-and-the-question-of-identity.htm
http://cinesthesiac.blogspot.co.uk/2011/04/that-sinking-feeling-submarine.html
"None of this will matter when I'm 38," our hero tells himself - yet the audience, who may well be some distance ahead of him, will surely be aware that, in love, you often encounter the same damn problems over and over again, no matter your age, however smart you think you are.
Younger viewers may be reminded of Wes Anderson, and - given the middle-school setting - Rushmore in particular. Characters are defined by wardrobe choices: the youngsters by those insulating coats, the elders by what we might call Signifying Hair. If Hawkins is rather trapped by her period 'do - there's little room under that harsh Selina Scott fringe for the actress to demonstrate her usual charm - then Taylor's beard is precisely that one might have witnessed on an Open University presenter circa 1981, and Considine makes his Limahl-like fin mullet an integral part of Graham's bellendedness. There's an element of Anderson's self-conscious dress-up to all this - these are teenagers who act and speak as though they know they're in a book, or a movie (sample extract from Oliver's narration: "Her tongue was stained blue with blackcurrent squash; it smouldered in the cold") - yet here it all somehow funnels back into a sort-of true picture of the adolescent experience.This, coupled with the protagonists' acute sense of being off-the-radar, may be whereSubmarine gets its title from, though there's water, water everywhere in Ayoade's film. From the stagnant duckpond in which hapless bullying victims are submerged to the gaudy fish tank prominently positioned in the Taits' kitchen, these characters are never too far away from that sinking feeling - the coats almost become lifejackets, constants to cling to - and desperately trying to raise their heads above an ever-mounting tide. It's apt the film should conclude with Oliver and Jordana staring at the sea, to paraphrase that old Cure album beloved of adolescent mopes: a moment of rare calm, leaving us wondering where the next wave - of hormones, of crises - will carry them.
Here's one from the Economist - very good about fear the hooligan and moral panic.
The Guardian - talking about representation of urban communities and the riots.
Here's a post from Pete Fraser's blog with some interesting links and PPT from David Buckingham.
And the Guardian's amazing resources.
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June 2010
Analyse the ways in which the media represent groups of people.
What is collective identity and how is it mediated?
January 2011
Analyse the ways in which the media represent one group of people you
have studied.
'The media do no construct identity; they merely reflect it'. Discuss.
June 2011
With reference to any one group of people that you have studied,
discuss how their identity has been 'mediated'.
'Media representations are complex, not simple and straightforward'. How far do you agree with this statement in relation to the collective group that you have studied?
January 2012
Discuss how one or more groups of people are represented through the media.
Explain the role played by the media in the construction of collective identity.
June 2012
Analyse the ways in which at least one group of people is 'mediated'.
Discuss the social implications of media in relation to collective identity.
January 2013
How do media representations influence collective identity?
Discuss the different ways in which groups of people are represented by the media.
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The ratings and designs were created by the wonderful Level 3 Year 12 students on the Creative and Media Diploma. You can change the ratings if you feel their judgement is incorrect.
Anyway - it's all there.
And below is all the research that went into making these cards. All this is analysis and opinion from individual students - so feel free to argue against and interpret the criteria and cards as you wish.
]]>This prompt question is a relatively open one and your answers will vary depending on the texts that you have studied. We looked at Press Gang from 1989 (specifically episode 1 of the first series) and the film Billy Liar (1963) about which you can read more here and here.
When answering this question concentrate on the word 'representation'. This question isn't asking you to know about how youths have changed over the ages, this isn't a sociological study - it's about how UK youth's behaviour is shown, presented, REPRESENTED. So what sort of behaviour do the texts focus on? How are inter-generational conflicts resolved? How is bad behaviour presented - demonised or immaturity? What aspirations or roles do they fulfil?
Below are a few clips to get you going. Again - don't be thinking that back in 1989 (when Press Gang was out) UK youth were nicer and politer (there were some right ones back then) - it's the media representations that has changed.
Flirting in Press Gang vs Flirting in Misfits
Bad behaviour in Press Gang
Compare this to Skins/Misfits.
Attitude to adults in Press Gang vs Misfits
Have a look at this clip from Stewart Lee which answers the question from his point of view in terms of Skins compared with the television he grew up with. What's interesting is that when Lee was growing up, most TV shows aimed at teenagers fell under the Kids TV remit so were usually on around tea-time (six o'clock) rather than the post 10.00 p.m. scheduling that is used for Inbetweeners, Skins and Misfits. So it is clear that producers (such as E4) believe in order to reflect the lives of and attract teenage audiences they need something bit edgier than a kids running Youth Newspaper or the adventures of astrophysicist Adam Brake and his young son Matthew.
Other things to think about
The role of adults - suffocating in Billy Liar, understanding in Press Gang - often conspicuous by their absence in many contemporary texts.
Aspirations of young people - Billy Liar fantasises about being a general or minister, in Press Gang they want to run a serious paper - in Misfits Nathan wants to shoot himself on telly and get women.
Representation of bad behaviour - Billy 'drugs' his girlfriend in order to get her 'in the mood'. This is played for laughs - would the same be done today?
Compare the trailer for Shank with the 1970's comic Kids Rule OK. What are the similarities?
Look at this post - choose a character from a contemporary and past text and compare them against the criteria.
A common representation of youth is one of being let down by the adult world - be the parents, schools or authority. It's a representation that shows up in some unlikely texts such as Eden Lake, that from the trailer and a glimpse at the more horrific scenes, is pure and simply demonisation of youth (young = evil).
A closer look however sees the film continually try and lay the blame at the hands of the parents. The opening credit sequence has the young couple driving up the motorway while listening to a radio phone in discussing the problem of 'youth crime'. The callers continually pass the buck about who was to blame - the parents, the schools, the media - and so creates a representation of society unwilling to take responsibility. This is then expressed again when the couple express their concerns about the youths at the local cafe.
The final brutal scene really emphasises where the film places the blame showing that the gang of youths are just a product of the society and families they come from. In fact the groups of parents are represented in the much the same way as the demonised youths - casual sex, binge drinking, controlled by a bullying leader, resolve situations with violence. Brett is just fulfilling the same role as he sees his father take, and end shot of Brett posing in the mirror could be viewed as evidence that Brett partly knows he is playing a role. Find the clip on this post here. [SPOILER WARNING - THIS IS THE END OF THE FILM].
This idea of 'youths' just be a product of the society they are raised in is also, briefly, explored in Harry Brown. The only time we get a glimpse inside the minds of the youths and therefore get some explanation for their criminal behaviour is in the police interview room.
Again, just like Brett in Eden Lake, the Noel Winters character explains that he is just following his father's foot steps. We also learn that Marky is particularly vulnerable due to the upbringing in care he received.
Lastly have a look at this short film called Cherries, and count the number of times the youth are let down by the authorities and institutions that are supposedly there to protect them.
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“I’m expecting criticism,” he says. “But I’m not worried about it. I’m comfortable that the violence is not glamorised. It’s short, brutal and effective, like real life. There are no slow-motion shots. It’s not judgmental and it’s not gratuitous.”
He’s certain that the balance is right in Pat Holden’s film because Sampson lived through the sort of breathtaking, frenetic squalls of violence that the film depicts. Like the film’s fictional characters, Paul Carty and Elvis, he travelled up and down the country following his team in the late 1970s. It was an era when journeys were infused with threat; a malevolent piquancy that enhanced the experience. “It’s young men running wild,” he says. “That’s what young men do, whether you like it or not.”
The violence will grab the headlines but there is much more to Awaydays. The film is a coming-of-age story set in 1979, the first days of Thatcherism, a curiously flamboyant time for these lost boys of Birkenhead. The plot is driven by fashion and pulsating music as much as brutality. It is the best representation of the beginnings of the “casual” culture to reach the screen.
Carty, played by Nicky Bell, is a teenager recovering from the death of his mother. He is drawn, via the enigmatic Elvis, to a group of Tranmere Rovers fans known as the Pack. Carty is never able to gain a sense of belonging within the group, which is intent on building a reputation through causing havoc. In Elvis, however, Carty finds a kindred spirit. Liam Boyle’s Elvis is mesmerising, switching from romantic dreamer to psychotic hooligan in the swish of a Stanley knife blade.
“It was a time when there was a convergence between music and football,” Sampson says. “There was a dress code and a code of behaviour. It was very seductive.”
Most films about football fans emphasise the macho element of the culture. For Sampson this is a fundamental misunderstanding. “The wedge haircut arrived,” he says. “It was amazing. These fresh-faced young boys had this camp, plumped-up bowl of hair with a long fringe over one eye. I saw it most clearly when Arsenal came up for the League Cup semi-final in 1978. They brought the biggest mob I’d seen at Anfield. They were a sea of denim, thousands, all boot boys. Very butch. On the other side of the barrier were four or five hundred Liverpool urchins, young lads, all with duffel coats and massive fringes. They looked so effeminate, but they fought with the Arsenal all the way back to the station. It was one of the most terrifying and exhilarating nights of my life. I wanted a wedge. A duffel coat. To be part of it all.”
Unsurprisingly, he is looking little farther than Awaydays at the moment. Will he feel responsible if some are drawn to violence by the film? “No. It happens and always will. There’s depression in the air and it wouldn’t surprise me to see trouble making a comeback. When there’s no money around, no jobs and no status, young, working-class men can get it through being hard, from violence. For the powerless any power is good, even if it’s only the power to scare.”
But to concentrate on brutality is to miss the point of Awaydays. The way the camera lingers on the clothes and training shoes gives a sense of the drooling desperation felt by the “dressers” — a sensual obsession most people tend to associate only with the New Romantics of the early 1980s.
Sampson says he wanted to capture something that was distinctive to Liverpool. “It happened here. It’s wired into the DNA of the Liverpudlian to be different, and when those people went to Europe en masse for the first time it altered their preconceptions. For me, it wasn’t about Stanley knives and anarchy, it was about an uprising of style.”
Away Days Review Film 4
The 1998 cult novel the film is adapted from, however, is just fascinating. Straddling Liverpool's music and football scenes circa 1979, this complex rites-of-passage tale explores class-tourism, teenage nihilism, pack-violence, and the unspoken homoerotic tensions in close male friendships.
As in the novel, arty Carty (Nicky Bell) becomes fascinated with the hooligans at Tranmere Rovers. His passport into this knife-wielding, wedge-cut world is Elvis (Liam Boyle), a young working-class romantic-savage who stands at the intersection between two subcultures. The noose he hangs in his new wave riot of a bedroom, "a reminder of the absurdity of life and certainty of death". The unlikely pair embark on a messy, complicated bromance, before the disturbed Elvis drifts into heroin abuse and a depressive spiral, while Carty is sucked ever deeper into a lifestyle he cannot control.
You looking at us? The Observer
The book is written in the voice and through the eyes of Paul Carty, a well-educated Merseyside teenager who yearns to be one of The Pack, a notorious gang of football hooligans. Carty has lost his mother a year previously and retreated into isolation. He's into Joy Division and Lou Reed, but his nihilistic search for thrills disguises a greater quest for identity and meaning in his young life. He meets a volatile, troubled soul called Mark Always – Elvis – and from that point something has to break.
British Teenage Tribes on the Big Screen:
Teddy Boys 1950s
Credited for bringing fashion to the postwar male consciousness, teddy boys sported clothes infl uenced by both Edwardian England and contemporary America – loose-collared white shirts with skinny ties and a brocade waistcoat, high-waisted trousers in a drainpipe cut and suede 'brothel creeper' shoes. Musically, meanwhile, they listened to early rock'n'roll by acts such as Carl Perkins, Jerry Lee Lewis and Elvis. As seen in: The Damned (Joseph Losey, 1963)
Rockers, 1950s/1960s.
As the teddy boy subculture faded, it split into two distinct factions that formed their own subcultures: mods and rockers. Also known as greasers, rockers were infl uenced by American film and music and were synonymous with motorbikes. Their style was practical as much as it was fashionable – leather motorcycle jackets, aviator sunglasses, Levi's jeans and slicked-back hair – while Chuck Berry, Eddie Cochran and Bo Diddley soundtracked their lives. As seen in The Wild One (Laslo Benedek, 1953)
Mods, 1960s
Mods were also a rejection of mainstream British pop culture. Stemming from the material wealth of postwar working-class Britain, mods were characterised by Vespa scooters, expensive, tailored suits, button-pin badges and the Union Jack and RAF roundel symbol. Keen to be on the cutting edge, they listened to whatever was new, from African-American soul music to Jamaican ska, and frequented London's all-night nightclubs the Scene, the Flamingo and the Marquee. As seen in Quadrophenia (Franc Roddam, 1979)
Skinheads, 1970s
The harder mods soon merged into the early skinheads, at first a nonpolitical subculture that mixed with Jamaican rudeboys and danced at West Indian clubs. Later, skinheads became increasingly associated with racism and extreme right-wing politics. Eventually skins swapped ska for oi!, a thuggish strain of punk, although their main interest was football, to which they wore Ben Sherman shirts, braces and heavy workboots. As seen in This is England (Shane Meadows, 2006)
Casuals, 1980s
Heavily influenced by the skinhead subculture before them and the late-Seventies mod revival, casuals were noted for their participation in football hooliganism and fondness for designer clothing. The expensive labels helped them escape the attention of the police and infiltrate the pubs of rival football teams on match days. Their musical tastes were eclectic, but casuals are associated with acid house, techno and the Madchester and Britpop movements. As seen in The Business (Nick Love, 2005)
Away Days is an interesting film as not only is it a conventional ‘youth’ film that concerns itself with coming of age situations such as love, experimentation and growing up, it also constructs a representation of collective identity within it – namely The Pack. The Pack is the football firm that our hero, Carty, becomes a member of, a group that have a distinct identity that is easy to apply our main definition of collective identity:
‘a shared sense of ‘one-ness’ or ‘we-ness’ anchored in real or imagined shared attributes and experiences among those who comprise the collectivity and in relation or contrast to one or more actual imagined sets of ‘others’. Have a look at this clip. Try to identify what shared attributes The Pack have, also look at how they define themselves (and in how the film does) in terms of a group of others.
Some thoughts: The obvious shared attributes are for The Pack appearance, swagger, regionality and attitude. However, this mainly comes into focus once the set of ‘others’, the rival gang, are introduced:
Side partings vs long hair sideburns
Trainers vs boots
Lee jeans vs baggy denim
Peter Storm vs donkey jackets
Young, cocky, beautiful vs old and uglyJust look at the way the camera treats the two groups – the slo-mo, longing takes, the cool music. There’s no doubt who the film ‘loves’. In this second clip we see Carty getting ready for his time with The Pack. What’s interesting about it is that we seeing the transformation from Carty, the son, the brother, the responsible one, into Carty the nutter in the Pack. He’s changing from identity into another. Have a look at how he does this:
Some thoughts: there’s a physical and mental change. The mental change sees him almost psyche himself up for the away trip, the physical is depicted almost like a ritual as he gets dresses – carefully laying out his clothes. The other interesting things is that Carty runs to his meeting with Elvis – this is an expression wanting to be free from the Carty he is with his family (the young Carty) in order to become the new powerful respected Carty. Away Days is a film partly about ‘youth’ and so has the types of representations we see in other youth films, but also it is about a sub culture – namely the football casual. This Wikipedia page should give you the basic but here’s a good from the LFC site and another that references Kevin Sampson, Away Days author. Focusing on a subculture is what often happens when the media creates a retrospective representation of youth. Just have a look at this clip from Shane Meadows This Is England which focuses upon the mid 80s Skinhead subculture – compare this with the Away Days, look for similarities.
Both films focus upon two groups that have an identity that is largely defined by fashion, but also by media consumption and recreational choices. Also they have this ‘becoming scene’, a sequence of changing identity through clothes and mentality that allows them to be part of a group. Also this changes how the main character view themselves and how other people view them. This type of representation of youth is a popular choice for the media. Have a look the trailers for films and TV series that choose to focus on a youth subculture and tend to romanticise them.
Soul Boy (2010)
Quadrophenia (1973) - A film made in 1973 about 1965 Mod Culture
Tom Green, the director of the TV Misfits, is working on a film tentatively titled ‘Spike Island’ about the late 80’s early 90’s Manchester scene.
David Buckingham writes that 'Recent research has pointed to the dangers of romanticising youthful resistance and the tendency to overstate the political dimensions of youth culture.’ This suggests that films tend to embed these youth sub cultures within a political backdrop (Thatcher’s 80s for Away Days and This Is England) and suggest that the culture is a reaction against that. What Buckingham suggests is that this element is overstated – that we should remember that these are ‘sub cultures’ rather ‘counter cultures’.
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