Institutional context
directed by critically acclaimed dougal wilson
award winner
John Lewis, basement Jaxx, Coldplay
Cultural context
- samples 1982 Captain Sensibles ‘Happy Talk’, punk artist and draws parallels between punk and grime and postmodern theory of the attitudes and movement of grime compared to punk.
- 1946-55 childrens programme, Muffin the Mule, Annette Mills.
Social context
in the context of 1950s Britain
post war period, many migrants from carribean, India and Pakistan. created a more ethically diverse population. however 1950s, white middle-class were hegemonic.
ML: mise-en-scene
-puppets, reflect the public, on strings controlled by those in power and the upper class. Dizzee doesn’t have these strings which shows his liberation as a result of his hard work. breaking down those stereotypes
ML: cinematography and editing
Wide-shot, shows juxtaposition between Dizzee and female
woman lip sinc ‘happy talk’, she doesn’t feel the w.c struggle and has the power to avoid these issues.
ML: Jump cut
jump cut at the end of the video
worried face as she fears DIzzee may escape the box and cause disruption to the social hierarchy
ML: two worlds
1st world:
1950s living room, stripped wall paper, flowery brown curtains, grand piano. females costume, lilac jacket with a broach
2nd world:
idea of PM society and dizzees world, off license and night club, police, oppression in different ways
shows class differences and experience of different societies
Representation: female
1950s white, middle-aged woman
fulfils a matriarchal role and uses a patronising tone
humour as the video progresses and her disapproval or of dizzee and his actions
reflects British reserve, doesn’t like invasion of space
Representation: Dizzee
challenges authority, stereotypical youth
worked hard, no strings
hoodie
youth, football, break dancing, less deviant behaviour, role model
pos rep challenges negative stereotypes
