Thursday, 19 January 2012

How do contemporary media represent British youth and youth culture in different ways?

Harry brown
Council esate
Old man is alone and issloated maybe recently lost his wife? (Kath)
Boys running around on moped shoot women several times she dfies they go off and hot by truck
 Old man stood waiting  goes to hospital to visit his wife
Almost looks dead….
Old man goes to pub- local  meets with his friend “ father” old man – harry
Begin to talk about kath ( harrys husband)
Drung dealing going on in the dingy pub
Old people are feeling scared and worried with fear due to the use of drugs
Harry doesn’t care
Sat on his own watching telly
Making him look issloated and on his own
Cars ebing attacked  youths represented as being bad rebellious
Smash in car big group of them 
Boy is attack  lokos like hes dead
 Old man feels safe behind the curtains
Old man gets a call in the middle of the night
Doesn’t want to go down the short cut
Running to the kates bed side
Breaks down in the hospital
At kaths grave giving her daffoldils
The two old men stood together
Sat in the pub again on there own in darkness
Talking about how beautiful and how him and kath met
Talking about Harry’s time in the marines- war ( old man)
Dingy barthroom showing that life isn’t great
“father” says  “ dog shit through through my bos spat in his face, he ccant take it anymore “
Pulls out a knife  he wants something done about the youths
Bag on fire in someones home
Smoke filling the room
Police knock at harrys door
Len “father” has died found dead in a pedestrian walk way
Police see themselves out 
Old man cries, left with no one
Police banging at door , jean doesn’t open the door
Mother crying
Loads of commotion outside the boys house who got arrested

Sat in the giving evidence two lights and the rest of the rooms is dark
He has foul langaue ( carl)
Killed a pensioner
He replies no comment

Mark looks scared he says he don’t know nothing
Dean falls asleep and says no comment
One boy has loads of offenses and will be used against him

Old man went to his friends funeral
Sat in the pub drinking
Old man walking alone by the river/canal
Sleepy boy from station
Attacks the old maa with a knife
And the old man plunges the knife into the boys chest
Puts all of his clothes into a bag
Goes to the bins and cleans the carpets
Has a shower
And goes to bed
Alone in bed
Tap dripping on a dirty plate
Sat on his bed looking sorry and depressed
Door bell is rung
Answeres door 
The lady pociliofficer from before turns up
Asks him about marines
Studying chess
And then explains about chess too the lady
Knife of his friend was in his coat
Looking at a box
Full of past time memories
Walking into a burnt out house

Group of teenagers stood in the pedestrian walk through
Drug dealing dealing going on
Man gets gets beat up
Old man stood in a dark street follows a young person 
Says hes trying to do some business,
Boy who was followed home holds up a gun to the old mans head
Drug den
Girl is fucked
And high on some needle drug
He then injects the needle into him self
Old man shoots the two guys torches the place and leaves with the girl in an army van
He thinks he is in the war?!?!?
Old man walks into a church
Gives the money he found in the army truck to the church
Detective realises that shes from a drug den
Old man visits his wifes grave and someone elses
Stares out of his window and sees the kids at the pedestrian walk through takes a drink

One guy on his own walks to a dealer
Guy gets the boy to give him head?
Old man shoots the dealer
Mark the terrified boy from the station is saved
And kept as a hostige
Old man sees fotatge of his friend being killed
Four people making out
Boy led too the pedestrian walk way on a leash
Boys who in the police station become scared
Everyone starts to shoot at each other
Man guy runs off

·         Harry Brown (2009) Dir. Daniel Barber
Hoodies strike fear in British cinema
Jane Graham ,, Thursday 5 November 2009
Who's afraid of the big bad hoodie? Enough of us, certainly, that the smart money in British cinema is going on those films that prey on our fear of urban youths and show that fear back to us. These days, the scariest Britflick villain isn't a flesh-eating zombie, or an East End Mr Big with a sawn-off shooter and a tattooed sidekick. It is a teenage boy with a penchant for flammable casualwear.
What separates hoodies from the youth cults of previous moral panics – the teddy boys, the mods and rockers, the punks, the ravers have all had their day at the cinema – is that they don't have the pop-cultural weight of the other subcultures, whose members bonded through music, art and customised fashion. Instead, they're defined by their class (perceived as being bottom of the heap) and their social standing (their relationship to society is always seen as being oppositional). Hoodies aren't "kids" or "youngsters" or even "rebels" – in fact, recent research by Women in Journalism on regional and national newspaper reporting of hoodies shows that the word is most commonly interchanged with (in order of popularity) "yob", "thug", "lout" and "scum".
Greg Philo, research director of Glasgow University Media Group and professor of sociology at the university, traces our attitudes to hoodies back to the middle classes' long-held fear of those who might undermine their security. That is what they see in what Philo describes as "a longterm excluded class, simply not needed, who often take control of their communities through aggression or running their alternative economy, based on things like drug-dealing or protection rackets".
"If you go to these places, it's very grim," says Philo. "The culture of violence is real. But for the British media, it's simple – bad upbringing or just evil children. Their accounts of what happens are very partial and distorted, which pushes people towards much more rightwing positions. There's no proper social debate about what we can do about it. Obviously, not all young people in hoods are dangerous – most aren't – but the ones who are can be very dangerous, and writing about them sells papers because people are innately attracted to what's scary. That's how we survive as a species – our body and brain is attuned to focus on what is likely to kill us, because we're traditionally hunters and hunted."
Once the images of the feral hoodie was implanted in the public imagination, it was a short journey to script and then to screen – it's no surprise that hoodies are increasingly populating British horrors and thrillers, generating a presence so malevolent and chilling that there are often hints of the supernatural or the subhuman about their form.
Daniel Barber's debut feature film, the much touted Harry Brown, is the latest and possibly the grisliest movie to exploit our fear of the young, but it follows a steady stream of British terror-thrillers including Eden Lake, The Disappeared and Summer Scars, as well as a seedier breed of ultraviolent modern nasties such as Outlaw and The Great Ecstasy of Robert Carmichael. Soon we'll get Philip Ridley's Heartless, a visceral supernatural horror in which the howling, snarling hoodies who terrorise the estate turn out to be genuine demons dealing not in crack cocaine but in diabolical Faustian bargains. Harry Brown's hoodies, however, are still very much human, and like most cinema hoodies, the ones who circle the eponymous vigilante hero (played by Michael Caine) hunt in packs and move in unison, commandeering the gloomy underpasses and stairwells of the concrete and steel London estate they inhabit. To Barber, the threat they present is very real and was, he believes, the motivating factor for Caine to make the film.
"I'm scared of these kids in gangs," says Barber. "They have no respect for any other part of society. It's all about me, me, me. Life is becoming cheaper and cheaper in this country." And from a director's point of view, hoodies are gold dust. "We're afraid of what we don't understand or know, and there's so much about these kids we just don't understand," he says. "That's a good starting point for any  film baddie."
When we first see the bad guys in Harry Brown, they are an amorphous mob of hooded creatures cast in shadow, smoking crack in an under-lit tunnel. They shoot at a young mother pushing a buggy in a park, then batter an old man to death. They show all the hallmarks of the stereotypical youth of "Broken Britain" – the tracksuits, guns and dead eyes – and Barber's overhead framing and murky lighting of them as they swarm over a vandalised car or close in on a passing couple invite comparison with those other cinema villains who gather strength in the dark – vampires and zombies.
The hoodies of the celebrated British horror Eden Lake have a similarly vampiric quality, though we quickly understand – through the deployment of the Rottweiler, the white van dad, the tracksuits and the Adidas gear – that these are the great British underclass. We know the territory we're in when a mass of disembodied bodies and grabbing hands surround a holidaying young couple's car. "The film isn't an attack on a particular social group," says Eden Lake's director, James Watkins. "But if you had a bunch of public school kids in blazers, it just wouldn't be that scary. There's an element of, 'these are feral kids let off the leash.' The films that stay with you exploit the fears closest to you – like Jaws, the sense that there might be something underneath the water. It's a very primal fear, the fear of the dark or a fear of violence, fear of children – these are very real fears which go very deep in today's society."
Johnny Kevorkian, the 33-year-old director of last year's The Disappeared, an atmospheric supernatural thriller about a young boy who vanishes on an estate populated by prowling hoodies, agrees. "Although it's a ghost story, much of the fear in The Disappeared is real," says Kevorkian. "These threatening nasty gangs run these estates. The film is exploiting the fact that things like gangs killing little kids really happens. So of course, in the film, you wonder if these guys are the cause of the boy going missing, and that is really scary."
The Disappeared, like Harry Brown, is set on an estate in south London. In both films hoodies set up camp on a favoured spot and punish trespassers – in Harry Brown they seize the underpass, in The Disappeared it's the children's playground. The noises that echo around the estates – car alarms, barking dogs, gunshots and loud, taunting shouts – are crucial elements in the films' relentlessly forbidding atmosphere.
"That's the reality of living on these estates," Daniel Barber says. "There are hundreds of homes all on top of each other, all with paper-thin walls. There is no way of escaping the noises other people make around you. You get this terrible claustrophobia. The architecture itself has gone some way to creating the attitudes among the kids who live there. It helps create their personalities – it's not just lack of family involvement or lack of education. They're like prison cells. But whole families live in them in squalor."
Barber is also aware of the visual power of the hood itself, an icon that has long had sinister connotations, most with the Ku Klux Klan and the Grim Reaper. "You have gangs of hooded kids roaming around and it is precisely the way they dress – disguising themselves, they cover their faces, mask who they are – which scares us," he says. "But of course behind this mass of awfulness there are real people, real individuals." To be honest, there's not a great deal of interest in these real people in most of the hoodie-horror genre. As Watkins says, baddies are more effective if they're "withheld" – getting to know them means empathising with them and losing our fear, and that's not how scary films work.
It's interesting that when British cinema has made a genuine attempt to engage with hoodies on a one-to-one basis, the result is rarely a thriller. Within the last year we have had Penny Woolcock's sensitive and funny 1 Day; Andrea Arnold's Loach-inspired and deeply moving Fish Tank; Duane Hopkins's debut, Better Things; or Wasted, which was nominated for a Scottish Bafta.
In those films, the audience's empathy depends on the authenticity and vulnerability of the young actors' performances and the camera closes in on their faces with a curiosity and open-mindedness that the hoodie-horror doesn't share. Each makes a convincing argument that behind the hoodie is a person with the capacity for love, whether it's Fish Tank's hard-drinking Mia or Wasted's surprisingly tender-eyed rent boy, Connor.
"The more I know, the less fearful I am," says Caroline Paterson, director of Wasted, a love story centred around two homeless drug addict teenagers in Scotland. "When we were filming in Glasgow, the actors actually got regularly picked up by the police and told to move on. These kids looked like the people we cross the street to avoid and I know that most people make snap decisions – you're a thug, you're a junkie, you're a lager lout. I wanted to make a film that said these people are human beings, they count, there is love and human connections in these people's desperate lives. I wanted to make people take a second look."
For Woolcock, whose 1 Day focuses on gun-toting, rap-slamming gangster boys in Birmingham, the urge to "dig behind the headlines" was pressing. "These stories about gang crime and these faceless thugs, scum who are ripping us all off – I thought, that can't be true. I knew if you look a bit harder, you'll find the funny one, the baby, the bully, the sensible one, the one who loves someone who doesn't love them. These are the things that humanise these excluded kids. It's very rare to find genuinely evil or psychotic people – most people are doing the best they can under the circumstances.
"People have families and relationships and deal in silly mundane things all the time – they're real people. I wanted to show the fun of these people, too. These are the things that humanise these excluded kids."

How does the article suggest howyoung people are represented
Un emotional
 non human
if you look benieth the surface there is something there they are human
reference to the klu klux klaan to jaws to opposiotuin
hoddie creasting a fear
the more you know the less scared you aree
monsters used to be used as the evil people ie vampires aliens supernatural axe killing murders aka jack the ripper  they didn exsist therefore we didn’t understand them.
The more we understand the british youths the less likely we will  be scared of them.

Social class
If you have loads of kids in blazers from publicschools the film just wouldn’t work. But having the kids in hoddies will work
Living in prison like houses aka the council flats hundreds on top of each other
Binery oppositions
Middle class vs working vs lower class vd upper

Continuing to develop knowledge of  how contemporary media represents British youth
Eden lake- 2008. Director James Watkins

How are jenny and steve represented
As there going away on holiday, they go off the map to a remote place in the woods steve asks the young teenagers to turn the music down he gets lots of abuse. The children then steal the beach bag which is full of there posessions ( has the car keys, phone wallet etc in it) steve and jenny try to get it back and the children turn on the adults. They start too attack steve and jenny and slice them with knives and wire etc tuie them up follow them as if it was a piece of fun,
Steve and jenny are just normal people who take a break from normal life- which is off the supposed map. They seem like people which wont give up with out a fight. They seem scared and fight for there life towards the end of the trailer. They seem scared and unable to defend themselves. Steve and jenny go through a lot from being chased, stabbed, tied up with barbed wire to being set alight?
How is this contrasted with the representation of the other characters ?
This is then contrasted with the fact that the younger teens are being portrayed as a rife evil scum who will do anything for a bit of fun. Theuy are 1st shown in the trailer as being loud with there music and become aggressive and violent towards the adults who ask them to turn the music down. You can see that they then steal steve’s car and possesions and follow them through the woods as a bit of fun. The young teens then start to chase and try to kill steve and jenny. They tie them up etc and think it’s a bit of fun almost getting some sort of thrill through stabbing and attacking another human being.
How important is the issue of social class?
I feel that the social class is and isn’t important here as you have the friend whos gone to paris for the weekend who is from the upper middle class, you have steve and jenny who are middle class then you have the youths who are working class
How are young people represented?
The young people here are represented as being horrible and awful to each other. They attack and try to kill steve and jenny who suffer many injuries which shows that they will go to any lengths to gain pleasure or seen as a bit of fun. The youg girl who says at the beginning you starting at my tits then films steve and she has a terrified look on her face.                                                                                                                                                                                                                                                                 

Film theorist robin wood argues that the basic  formula of the horror film is ‘ normality’ here … to mean simply ‘conforming to social norms’

Attack the block  2011 director joe cornish

Working in packs nigh time theme horror fits into it. Lighting is low dark and the bandana to hide their identity with the hoddies and baseball caps iconic clothes of the British youths. American youths used to be represented like this when they has gone bad and now its come over here
They seem to be acting how they should be

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