In what ways does your media product use, develop or challenge forms and conventions of real media products?

Candy Stripped

Conventions of Social Realism

• Location Shooting• Wide Shots + Close Ups• Type of Actor• Semi Improvised Scripts• Types of Props• Wider Social Issues Explored• Narrative Structure• Triumph over Adversity • Lighting• Editing• Sound• Form + Institutions

Location ShootingWe were able to use our surrounding area in our production through incorporating our own houses as well as the countryside. As a result of us representing a rural regional identity. The location shooting fit with the conventions of our genre as well as enabling our setting to carry a more personal and relatable feeling for the audience. This is captured constantly in other films of the genre as it enhances the realism aspect of the production. It is seen commonly in the work of Shane Meadows with films based around a rural regional identity, focussing on the Midlands such as “Dead Man’s Shoes”. Our locations echo the work of Meadows despite the lack of dialogue. As the production progressed we would have been able to explore this idea

Wide Shots + Close Ups

Furthermore there was an incorporation of a variety of shot types; including wide shots linking again with social realism’s conventions. The wide shots allow the oppressive theme commonly threaded through numerous social realism film to be more clearly displayed. Our use equally represents this due to the way the environment belittles the protagonist. Additionally is are use of close ups instead of dialogue. These are used to connote the frustration and distress the father finds himself in. He is at loss of words conveying his emotion through his performance. This different idea is more likely to be found in an independent production due to its suppression of the convention.

Type of ActorsThe convention of having a specific type of actor, often fairly unknown (due to the independent companies lacking money to afford a professional) actually aided us; because of the lack of availability of a professional one to us. Therefore the person that plays the protagonist is non-professional and gives a performance that is more personal to him. Our use of debut actor reflects the process our production company would take in real life through auditioning. This can be seen when Shane Meadows auditioned for a young actor at different schools, discovering Thomas Turgoose

Semi Improvised Scripts

Consequently of using someone with no previous experience in acting we were unable to adopt the convention of a semi improvised script. However we were able to take inspiration from a particular independent British film, “Dead Man’s Shoes”. This production features a complete lack of dialogue during its opening and this break from convention allows it to present a greater impact. Therefore we too challenged this convention, solving a problem with the actor and producing a better result that what could have previously been achieved.

Types of Props• Our use of props allow the audience to identify the

representation of working class through the depiction of him performing physical labour (often found in social realism films). Being sophisticated they can see beyond his stereotype of class, instead seeing his determination and attempt at productivity. This is commonly done in social realism films, relying less on generalisation and more the vulnerability of a character. Thus allowing him to gain the respect of the audience. Having this in the opening they may consider him initially deserving of respect anyway, because of his solidity and his desire to be productive in any way possible (e.g. playing cards rather than doing nothing).

Wider Social Issues Explained

Our overall narrative discussed wider social issues, for example the impact on children growing

up in a more poverty ridden area but also the themes of isolation and depression and the effects

that it can cause to people.

Narrative StructureThe narrative of our production works towards a new equilibrium of the father improving his life because of the influence of his child. Ideologically we aimed to prove how you are not influenced by your class or status. With the right motivation you are able to become what you want. Our audience could have gained pleasure from this ideology and received personal identity (Uses and Gratifications). This could be perceived as a hegemonic ideology as it influences people to keep carrying on and striving for what motivates them. However our protagonist does not have materialistic motivation. His comes from the love of his child. Our narrative contains conventional structures such as binary oppositions between the man and the rest of society due to his isolation from it. The sophisticated audience can take an understanding of social injustice and the themes of depression. In terms of Propp’s character types the single character shown in the opening could be any due to no others being introduced. The sophisticated audience may see home however as both the hero and princess. He is suppose to be the boys source of protection and care but on the other hand he is in need of saving. His independent overcoming of this problem subverts the stereotype of this character type (Princess) linking to a more independent production where this more likely to be seen.

Triumph Over Adversity

Finally is something that can be viewed ideologically as unconventional in social realism, however has been used in some films such as “Trainspotting” (anti-hero gets away with money). Since our narrative is discussing overcoming what seems impossible; as well as breaking down barriers and circumstances that the protagonist has created for him. It’s an illustration of triumph in adversity that has been showcased in other social realism independent films such as A Room for Romeo Brass. Our production concentrates on the effect the child can have on the parent, making in extremely relatable to the audience who are likely to have a family . Therefore will have experienced the strength a child can provide however possibly not to such an extreme. Again doing something more unconventional to a mass media product due to its independent niche nature.

Lighting• The lighting during our

production is conventional of social realism as it is predominantly low key (Example of auteur theory, used especially in scenes containing fire to great effect, becoming our signature style). This connotes severity of the father’s situation whilst also providing the production with a serious tone. Additionally to the low key lighting was our use of natural light. This aided the realism of the production, making it more relatable for our audience.

Editing• We broke slightly from the

conventions of editing (convention is normally just cuts) since we included a number of dissolves in our production. This was due to our inspiration from “Dead Man’s Shoes”. We believed it connoted the slow corruption the father is going through as well as his loss of stability. This unconventional approach is more intriguing for our more sophisticated target audience.

SoundOne way we broke from the convention of sound was with our lack of dialogue. This did though create an enigma for our sophisticated audience to become interested in. We also didn’t use any Foley sound effects. Instead we chose to record the ambient sounds on set, this is conventional of a independent production where it is more cost effective to record them on set.

Form + Institutions Our genre doesn’t contain many conventions on form giving us some creative freedom regarding the opening sequence. However we sections such as the credits we ensured we followed the conventions of there order and as well as there common position on the screen. The institutions we went for were conventional (Film Four + Pathe) and have produced and distributed numerous films. Despite that many independent films are co produced, and I believe that we too should have gone down this route due to its popularity. For instance “This is England” had seven separate production companies including Warp Films and regional funding like Screen Yorkshire, and then was distributed separately, as none of these companies was vertically integrated, by Optimum Releasing

Conventional of an Opening Sequence?

An opening sequence should introduce character, genre and narrative, we did this by:-Character: Our protagonists character is introduced through the non diegetic soundtrack which is stripped back connoting his raw and masculine attitude. Additionally the setting highlights his isolation and hinting at a more troubled background and the props of beer emphasise his alcoholic natureGenre: We successfully depicted genre by following some conventions of social realism films through location, shot types and also the exploration of wider social issues Narrative: The narrative is only partially revealed leaving large questions and an enigma (a convention of the genre). Such as what the man is digging for or burying and what information the letter contains. This causes our sophisticated audience to seek pleasure from attempting to answer these questions

Audience Pleasures:Candy Stripped provides the sophisticated target audience with emotional pleasures due to the connection they form with the protagonist. The determined nature of him progress to see him overcome issues allowing them to sympathise as they witness his progression from nothing to a father. There is also an intellectual pleasure from the enigma and ambiguity of the opening sequence leaving them confused and with a large amount to try an uncover. This shows a counter culture in our audience who differ from the mass market. As a result with focus almost primarily on mental stimulation instead of visceral pleasures.

How we could have done better

We followed a large proportion of the conventions and it may have been better to possibly be more adventurous at certain points. This could have been done narratively by not having the positive new equilibrium. Instead a more postmodern approach could be to have the protagonist in an eventual worst state. This could be through crime or a darker approach could be through such neglect his son passes away. The protagonist slips further into his darker self and his life is not granted the relief that our productions narrative provides. Additionally we could have followed other conventions of the genre such as a contrast between humour and seriousness. However we chose not follow this convention as it would contrast with the central themes of our production, being that of loneliness and depression. The use of humour may have been enjoyed though, by a postmodern sophisticated audience who enjoy challenging the traditional constraints of mood associated with genre