Cinematography is an appealing feature when applied as a conscious device. A good shot or camera movement can define a film. In the 2007 release Atonement the cinematographer Seamus McGarvey was praised notably for his 5 minute tracking shot depicting World War II soldiers awaiting the evacuation of Dunkirk. In an interview he talked about his love affair with the moving image and shared some of his lesser known techniques including the reincarnation of Dior stockings as a lens filter. He was nominated for an Oscar for Atonement and has won several other awards in his career.
Cinema as a visual medium should please aesthetically whether it is for the sake of realism or to transport the viewer to a land of colourful impossibilities. My most preferred use by the cinematographer is the ‘photo shot’ in which a scene can be reminiscent of a captivating photograph. This technique can make a difference to a flat script or mediocre performance.
One of my favourite examples is Dear Frankie (2004, Shona Auerbach) set on location in Greenock a port town in the west of Scotland. The story is simple following a family of three (young mother, her deaf son and his grandmother) as they move into the area. It soon transpires that Frankie and his mother have moved around frequently. They are on the run from Frankie’s abusive father unbeknownst to the boy. Instead his mother has invented an alternate life for him working away at sea. She encourages Frankie to write letters to his ‘dad’ posting them to a sorting office in the city. Frankie receives a reply once a month written by his mother who collects each letter.
As they settle into the new town, Frankie explores the harbour, the library and the streets meeting people and learning about friendship. In reality Greenock is a town which has suffered severe industrial decline over the last ten years, if a resident were asked to comment on the location ‘hauntingly beautiful’ is a description I doubt would spring to their mind. Yet every shot seems to capture a perfect moment. The town and docks look similar to a painting with wide open empty shots capturing that initial sense of isolation of the family.
The cinematography is also symbolic of Frankie’s approach to life. As a child he sees the world as a different place, he is under the illusion his violent father leads a charmed life sailing around the globe. As a deaf boy he relies heavily upon his sight for lip reading and so his perspective focuses on a child-like wonder. Every object he encounters takes on a visually delightful appeal. Cinematography in this case acts as a narrative devise as well as a visual art form.
Although the narrative is not challenging and could easily be accused of whimsy, it can be forgiven. The imagery strengthens the story and is highly enjoyable as a result. From a personal perspective, it was intriguing to see a local place portrayed as such knowing that it was achieved through subtle cinematographic techniques. The cinematography opened my eyes to the natural beauty of the town.

This review can viewed at www.cinemawithoutborders.com

When the instructions on your extra strength medicine say no caffeine obey them-

Day 8 of the jiggered kidney & Hollie takes a trip to Primark

A few nights before I had accidentally purchased a size 12-14 underwear set, still sealed in the container I queued hopefully to exchange it for my size. It was hot in the shop and I wore my woolly cardigan and an old woman who was gradually passing out onto my arm. Shade of face: beetroot.
There was one android on the customer service till and three bimbos loitering at the changing room desk. At the front a junkie hound was being served, returning goods to the tune of my annual income. The till girl moved slowly, slack jawed and spaced out, her pupils unfocused.

She bleeped a few barcodes through before stopping…looking…sighing…ringing the bell for assistance…then waiting…no explanation…just staring off into that middle distance between two people facing each other.
Meanwhile somewhere in the back of the store Satan had turned the heating up.
Another girl was finally dropped onto the adjacent till and began ringing through a purchase only to mess it up at the last second…stopped…looked…sighed and rang the bell for assistance. At this moment my FFS was audible mainly because I spat it through gritted teeth…another 10 minutes passed.
Finally, I was beckoned over by the vacant robotron on till one. I explained my situation to which she reeled off from her manual:
It’s Primark’s Policy not to return underwear.
But it’s in the sealed container; I unfortunately picked up the wrong size!
It’s Primark’s Policy not to return underwear.
I don’t want to return it I want to exchange it.
It’s Primark’s Policy not to return underwear.
It’s not my size; I simply want my own size.
It’s Primark’s Policy not to return underwear.
So what you are saying is I’ve just wasted my money?
It’s Primark’s Policy not to return underwear.
To which I flipped out and so the sh*t fit began. I made to storm off then came back and snatched up my receipt as though it bared any significance. Then turned around and began to try and march out of the shop, Primark is not a place you can march out of. It’s a labyrinth of displays and pushchairs- so fuelled by my rage (and perhaps the fact I had broken the no caffeine rule, or that I am as my Mum reminds me a hell witch) I began tipping over the displays, pushing stacks of jumpers on the floor and kicking the socks off the wee hangers.
In short I trashed Primark, which as we all know looks like a jumble sale anyway, so my tantrum went unnoticed by security but I did hear one member of staff enquire as to what I was doing.
Then off I went stamping along Braehead Shopping Centre before baying to the afternoon sky out in the car park.

Cinema focusing in particular on the British gangster scene has in recent years been glamourised by the likes of Guy Ritchie’s Snatch, Lock Stock and Two Smoking Barrels and subsequent imitators in Layer Cake and The Business. Ritchie introduced a more ‘Americanised’ style to film using high-paid internationally recognised actors such as Brad Pitt and New Hollywood methods of cinematography. Not least the spectacle of fast paced scenes set to popular music. It reinforced a series of representations of Britain or more specifically London rife with gangsters, organised crime and brutality. Meadows’ success is in his accuracy of portraying ‘villains’ without spectacle taking precedence over the narrative.

Drawing on his youth on a council estate in East Staffordshire Meadows’ films arguably contains autobiographical content. Noted in the film This is England (2006), a young boy growing up with an absent father represents issues in Meadows’ own childhood. The film also focuses on the development of characters from small communities similar to his. This is also tackled in his film Dead Man’s Shoes (2004). In the latter, the ‘gangsters’ are represented in a believable way shirking the London based, leather jacket wearing cockney geezers.

The villains are considered to be more believable by both their characterisation of deeply flawed human beings and their portrayal by the actors who play them. The weaknesses found reinforce the reality of the situation. In one scene in Dead Man’s Shoes a group of thugs leave their flat carrying weapons intent on attacking the main character. They do not succeed. On arriving back the flat is trashed with threats daubed in red paint all over the walls. The bravado instantly evaporates as the viewer is introduced to several reaction shots of intimidated, anxious and perturbed men.

Another technique Meadows’ successfully applies to his work is the use of improvisation. Having studied dramatic arts and starred in films Meadows has chosen this method to invoke again the reality and believability of the scene. This has often led to darkly humorous dialogue. Above all it leaves the viewer with an overwhelming sense of having witnessed or become involved in the events.

Therefore although the content of his films never shy away from delivering brutal, shocking scenes, the use of distinctive characterisation and the style of performance provide the genre with a sense of substance over the usual spectacle associated with British gangster films. Shane Meadows has been recognised and awarded accordingly for this input.

This review can be viewed at www.cinemawithoutborders.com

Using key concepts from John Izods ‘Myth Mind and Screen’ this article aims to provide theoretical principles to a brief textual analysis of the (1951) Disney screen adaptation of Lewis Carroll’s Alice in Wonderland. To begin with, it’s essential to highlight and interpret the key terminology in order to apply it to the analysis with any success.
In life, there is arguably a great battle between fantasy and reality put in more ‘Freudian’ terms the conscious and the subconscious. As a human being if one is not awake one is asleep creating a pull between the mind of imagination and the world of hard fact. Cinema and the theatre have been compared to the subconscious or dream-like state.

“A lowering of the level of consciousness is experienced in the dark warmth and security of the cinema.”
John Izod (2001:17)

Cinema is considered like this for many reasons, one being that a cinema or theatre can literally draw comparisons with a bedroom; a place where a person is free to relax in the dark and let their imagination run freely. Therefore this medium is where the subconscious mind dominates and is frequently represented on screen.
Key theorist Carl Jung formulated ideas which can be applied to key concepts within Disney’s Alice in Wonderland (1951). Jung highlights the partnership between an act, imagination and the effect.

“Active imagination…a technique of concentrating on dream or fantasy images by lowering the level of conscious activity. This allows the images to develop according to their own logic and provides a means of exposing unconscious contents.” John Izod (2001)

The result of which is an emotional effect upon the person. An active imagination therefore can stir emotions of nostalgia, affecting the perception and thoughts of certain situations.
A further ‘Jungian’ related term, which is used in the definition of the subconscious and the imagination, is that of amplification. The basic idea behind this terminology is the analysis and interpretation of dream images becoming ‘amplified’ and forming archetypes. The archetypes formulated by Jung and analysed by other theorists is the anima and the animus.

“A confusing and deceptive presence with the capacity to engender inner transformation.”
John Beebe (1991: 210) The Anima in Film

The anima is seen as the feminine presence within a man and the animus the masculine presence within the female. This idea however is flexible between both characters therefore considered a ‘deceptive presence’ (Beebe: 1992). The anima can be mistakenly defined as the woman in film, however if she possesses certain traits she can be recognised with ‘the desire to make an emotional connection’ (Beebe: 1992). Whether the connection is positive or negative the anima strives to connect with others. The anima is generally a positive being that enjoys life and can see the best in most kinds of situations with a calming and protective effect on someone else. On the other hand the animus has been described by Jung as a ‘contrasexual stereotype’ although often appearing as the female within film it possesses a masculine complexity. The animus’ traits are turbulent, angry and to a certain degree dominant. There is a pull between the intuition and imagination of the anima and the rationalization and practicality of the animus.

A brief example of these can be seen in the (1967) Disney adaptation of J.M Barrie’s ‘Peter Pan’, where two figures play out the anima and the animus. The parents are preparing for an evening out and are putting their children to bed. The father taking the role of the animus is losing his patience because of his personal disorganisation and the inability to blame himself. The mother is quietly tucking the children in to their beds whilst helping the father to get ready. This emphasises her role as the anima as she has a calming influence over the situation. The father emphasises his role as animus by bursting into a rage and putting the family dog outside for the night. This action provides aspects of practicality as the father verbally justifies his actions which, is a typical trait of the animus. The anima (mother) meanwhile stays content and makes an emotional connection with the children by singing a song to send them to sleep. Her actions typify the archetype. Imagination contrasts with practicality in the conflict between anima and animus.
A further archetype associated in Jungian theory is the ‘child’ and in effect the notion of childhood.

“Child…. usually signalling a beneficial change of personality before it occurs, it represents to the adult instincts experienced in childhood.”
John Izod (2001)

The archetype of the child is important and frequent within Alice in Wonderland and shall be applied extensively. Further to this is the element of ‘shadow’ which appears either as symbolic or when introducing a character. Shadow is often associated with the ‘other side’ and can have strong links with the archetype of a dark figure or trickster;

“Both devil and saviour …his fondness for jokes and his ability to transform himself make him a symbol of enantiodromia.”
John Izod (2001)

This archetype can appear in the behaviour of a character leaning neither to the side of good or bad. The trickster can move between these areas focusing instead to confuse and have fun. This archetype is a key figure found in the film.

Disney’s adaptation of Lewis Carroll’s Alice in Wonderland (1951) is the story of a young girl named Alice who on one long summer day enters a magical land through a rather large rabbit hole. In this land everything is non-sensical and ‘curious’. The narrative is a metaphor of Alice’s prepubescent state as the life she once knew is on the verge of changing in all sorts of bizarre ways.
The story begins with the brief introduction of an anima figure, it is not clear whether this figure who reads a history lesson to Alice is her mother or sister, but she is certainly not a tutor. She possesses the calming influence common to the anima. However, this is contrasted with ideas of the animus as the narrative expresses a conflict between Alice and the woman. Alice believes that books can only be of interest as long as they have pictures- the woman disagrees. Her point that books have use even without illustrations is a practical element of the animus contrasting with her anima nature.
Alice soon enters the wonderland where things appear backwards, laws are re-written and impossibilities are true. The initial archetype present is shadow amplifying the darkness. This is in sharp contrast to the hot summer day in which the story began and continues to act as a setting for one specific archetype: the trickster. In wonderland this archetype is rife.
Back in the summer setting Alice spots a rabbit running past on its hind legs wearing clothes, holding a pocket watch and muttering to himself. She can hear him say that he is late as he continues to recite a limerick of sorts about his lateness. Alice acts out her archetypal image of the child as her curiosity and excitement force her to follow the rabbit straight down the rabbit hole. Her animus side has clearly not taken form as she hasn’t stopped to consider the impossibility of the situation. However, it does become clear that throughout the narrative Alice plays between various archetypes; the child, the anima and the animus. The rabbit is an enigma luring her to wonderland and challenging Alice with ideas of imagination and reality.
The trickster archetype is rampant in the narrative almost every character who Alice encounters appears to mislead and confuse her. She meets three types of character that are strong contenders of the trickster. The first come as a pair known as Tweedle dum and Tweedle di, creatures who take the form of naughty schoolboys. The shadow has descended upon the scene as the child (Alice) walks hastily through the darkened wood, clearly confused and lost. Enter Tweedle dum and Tweedle di, who offer assistance if she will listen to their story. At first she refuses as she clearly plans to catch up with the rabbit, the tricksters persuade her. They offer a bit of the story to entice her to listen and quite obediently she sits down. The story finishes but they show no intention of helping her, they have intended to merely impede her mission of following the rabbit.
The next trickster Alice meets is the giant caterpillar, unlike the fun associated with the storytelling duo, the caterpillar has a foul temper and switches between calm and serene almost lethargic to a hot tempered fireball. Initially he too comes across as useless it’s not until Alice walks away in frustration that he offers assistance. At this point the caterpillar turns into a butterfly symbolising the transformation from childhood into adulthood; the key theme of the narrative.
The final trickster archetype who literally embodies the definition is the Cheshire Cat. Again, they first meet in a very dark woodland area, Alice is lost. In need of assistance she hears a voice but no-one is visible. A mouth then appears in the darkness and stretches a wide white toothed grin. The rest of the body comes into focus as the viewer is introduced to the Cheshire Cat sitting in the branches of a tree. The child asks for directions and he confuses her by pointing out opposite paths of travel. However he ultimately proves his archetype as a saviour as well as a nuisance by offering an easy, safe route to where she needs to go. Not before he has a little fun though ‘I’m not all here’, he comments as he fades into the shadows.

Alice’s changeability throughout the film from the child to anima and animus mirrors the symbolism of the journey through childhood to adulthood. At various points within the film Alice’s childlike vulnerability is evident when seeking guidance. If advice was not provided and she had to make a decision for herself her emotions would play to the extreme. In one scene she almost drowns in her own tears. However when the no-nonsense animus is portrayed by Alice it is as though the child never existed. This can be seen in scenes with the trickster archetype where her frustration rises and she dismisses their non-sensical ramblings and walks off. The anima within Alice appears as soon as she enters the rabbit hole, childhood curiosity lures her into this portal but, the anima trait is present as she desperately seeks to make an emotional connection with the rabbit throughout the film. It becomes clear however that the dominant archetype is the child as her anima preoccupation of finding the rabbit is overruled by her desire to reach home. This emphasises the confusion over her ever changing state of mind reflecting again the theme of Alice in Wonderland.

The theories and concepts defined by Jung can apply to the characterisation within film. Through definitions and archetypes, characters and narrative can be analysed and interpreted. This essay has used key concepts from John Izod’s ‘Myth Mind and Screen’ and provided a Jungian reading of the 1951 Disney screen adaptation Alice in Wonderland.

A lot of people look back to their younger years and sigh saying ‘when it was all so simple’. I remember not wanting to wish my childhood away as such but to dream about the day I had my own place, drive my own car and pick the sweet cereal when I went shopping. That time is now, but although I don’t miss my childhood I miss the uncomplicated nature of my ability to just be, exist- trust.

Not that I forget my angst ridden existence as the tortured teenager. I don’t wish those feelings on anyone, but at some point between the innocence of little me and my not much older current version my perspective changed. Now I know this is an obvious statement to make. Of course I have learned a lot, experienced many situations and met some pretty educational human beings since then. I just wonder whether any of us can stay in a mindset that is open to trust without extraneous factors like fear clouding it.

In the last while I have come to realise that people have a considerable effect on my behaviour. We all learn from others and we can all make informed decisions based on their reactions and judgments. I have been able to make life changing decisions supported on the basis of strong friendships. I have learned to body swerve the potentially draining people in favour of the rewarding individuals. Leaning on your friends is an essential part of practicing trust, even when on occasion you are let down do not let it dissuade you. True friends will have reasons; real friends can explain and ultimately feel the need to do so. Experiences like this are key to re-developing that sense of trust and aid in that overlooked approach of not taking life so seriously.

On opening my sore eyes and adjusting to the feeling of a dull throbbing pain in my temple, I began to recall the events of the day before. I thought it impossible but I had done it, I had survived my first wedding as a single girl.

As this was something I hadn’t done as a solo activity I sought the advice of some friends beforehand. They shared their unfortunate experiences aiding to construct my ‘points to avoid’ list. Speaking to both the married and ‘been through it’ side of the spectrum I was informed that I had fallen into a specific guest role. My single friends said I had been invited to fill a seat, but the married girls offered a more alarming description. Yes, it was true I was family and like all relatives we tend to be fans of a celebration and certainly willing participants of a free feed however, I was pushed to admit my distant cousin status to the bride and therefore my role was clear. As a single girl with no immediate connection to the bridal party (other than blood which, I now know is unimportant) my invitation was extended for me to provide a nice shade of green to the bouquet stems. According to my friend who married six months ago one of her highlights was to sweep around in her gown while she basked in the glow of jealous female guests: the singletons, the left on the shelf cases and the women who hadn’t yet reached this point with their current beau.

Build Your Defence

This shocked me but, determined to attend I accepted it and began to gather together my defence. Although arguably irrelevant to some I could still legitimately claim my appearance as a family member, already setting me ahead of the girls invited because their parents are friends and they knew each other in childhood. If you are really lucky “you may hit the jackpot and have someone from high-school turn up” quipped one.

Number one in my list on how to survive is to know your invitation status, I was fortunate to be related others may not be but this recognition stands you in good stead to proceed.

To Plus One or Not

When my invite came through the post I was automatically considered a lone attendee. This was an instant result and cut out the dreaded search for a plus one. Many of my single friends had fallen hard at this hurdle and were keen to share their experiences. Whether you have any real interest in this person or not inviting a date in the first place sends out a signal. In one case my friends date dewy eyed over the couple’s first dance considered it the best time to share his (rather premature) declaration of love. Another saw any chance of a blossoming relationship evaporate on the mere mention of attending the event. Then there was the friend who dragged along her colleague and after a couple of glasses of fizz decided in conversation with a group to invent a romantic relationship between them only to be forced into an Oscar worthy emotional performance when he had got acquainted with a bridesmaid.

But the most important part of arriving honestly as a single guest is that you allow the way to meet other people, some can be in the same situation and that can lead to a good night or a possible flirtation. Rule number two and the resounding conclusion is to go alone.

Beware the Bar Staff

Unfortunately going alone also means no-one has your back. You may have had fun getting to know your single comrades having a dance, sharing a drink but if anyone has one shot too many and heads onto the stage be warned- they are on their own. Casualties of war are an inevitability and this event was no different; a microphone, Diana Ross and a lot of vomit. There I stood with the others watching the scene unfold making no attempt to get involved. I did muster a slight shake of my head perhaps even a small sigh and in doing so propelled myself into a higher class of guest. Brutal indeed, but without composure it could easily have been any one of us. Number three therefore is to never challenge those you meet at a wedding to a shots contest.

Finally though and most importantly, relax. After all it’s a party and a celebration and not a battle ground entirely. Remember to join in with the traditional fun, be light hearted and scramble for the bouquet. Make the appropriate sighs as the couples around you take to the floor for the slow dances, all the while making a mental checklist of those you will request as your green eyed invites when the time comes.

This article was written for webooks.co.uk

‘Techno is like a good cheese’ she elaborated looking at her slightly fuzzled but deadpan expression I knew she was being sincere, if a little rich in her vocabulary. ‘…you have to wait on the meat’. The music builds and until it does so you may as well consider it an olive or side order of bread and therefore out of etiquette you must be patient and not eat….or in this case dance.

By 2am the rules had changed the cheesy meat dish had been devoured along with some fine wine and we were dancing the perspiration off our faces. Although actually a good wine would’ve been great- we found we are best to work with metaphors. As Connie’s hand outstretched for change from a 20 euro note for two drinks served in plastic cups remained empty.

Throughout the night the crowd mutated from the bespectacled parker wearers to what felt like a frat boys day out. Shirt collars protruded from Pringle jumpers, rolled up sleeves revealed Rolex watches, but the group seemed to be having a great time applauding the DJ every time he managed to move from one repetitive beat onto a slightly higher frequency. That- or the euphoric moment he sampled a ringing telephone. Connie in her painful slabs of reinforced wood or wedge sandals bowed out for a cigarette and after a few minutes dancing alone I opened my eyes to get the distinct impression that I was becoming the cheese in a French boy baguette. My exit was marked with the universal sign of sticking fingers down my throat. Time ticked away all the while and apparently the DJ’s had changed over to the main act- seamless!

The music pumped on as did the guy dancing behind Connie who decided to introduce her to some meat of his own.

Our exit was also marred by some bourgeois preener insisting we join his private party at one of Paris’s exclusive night spots on the Saturday. I had made efforts to keep walking but on taking a second to look back he was writing his number with liquid eyeliner onto Connie’s forearm. ‘His name was Cereal and he asked me if I liked cereal for breakfast’, so we learned that although the pick up lines are weak they still muster the strength to break the language barrier. We took a taxi back to the hotel and after prizing off my heeled instruments of torture I conked out face down.

I was glad that I had participated in the French techno experience. I had seen one of Europe’s most progressive DJ’s in Paris’ brand new clubbing venue of which I had been informed many Glaswegian clubbers would donate a body part for. I just know that I still prefer my cheese and meat to line my stomach as against to appreciating it in an audio format.