Bullet Boy: Scene Analysis Essay

Bullet Boy, a 2004 British Social Realism film, direct by Saul Dibb has narrative that portrays a distressing an emotional story of race, gangs and gun crime London. The film follows the life of a young adult male named Ricky, who has recently been released from prison, and portrays effect he has on the lives of those around him. The snap I will discuss is a montage mingled with the main book of facts named Ricky, and his friend scholarship. The perspective is ab go forth Ricky, planning an escape from his reputation along with his girlfriend Shea, tour skating with his little brother Curtis, whom idolizes Ricky.Although, firmness is only if in a corner shop, unawargon that Godfrey and another of his rivals ar destroying his car. ane of the most important elements of this scene is the use of crosscutting between both Ricky and Wisdoms narratives. This scene exaggerates the contrasts of their lives and is cut in order to create an underlying foreboding and tautness. By ad ding short clips of Wisdoms tense plot, within Rickys longer, more upbeat flings, it drags out and intensifies the audiences anticipation as to how Godfrey will take his revenge after he is shown with weapons and an accompl sparkler.The wholesome passim this scene is mostly non-diegetic, a gettrack piece, however diegetic sound can be heard in a discussion between Ricky and Shea. Ambient/diegetic sound is noted during the vandalism of Wisdoms car, as well as laughter and skates from Rickys shots. An upbeat track is utilize to erect a nose out of pace to the scene, while keeping up with the action of the sequence. The music that begins in Rickys first shot continues throughout each of Wisdoms, also k at a timen as a sound bridge, thus creating a smoother transaction between both narratives.By using a sound bridge to keep continuity in regards to sound, it makes the action seem uninterrupted helping the audience follow. The scene begins with a close up Ricky conversing with his girlfriend. Over the shoulder and close up shots atomic number 18 utilise to increase audience involvement with the characters. Seeing the characters close up gives the viewers a greater reasonableness of their emotions, while also helps to establish the position of each character, and give the feel of looking at one(a) character from the others point of view. after(prenominal) their discussion a pan shot of Curtis is shown as he skates towards the glass.This keeps up with the speed that Curtis is passing game, whence keeping him in the centre of the frame, making him the main focus of this cut. The scene thus cuts to a medium-long handheld tv camera shot of Ricky and Shea entering the ice skating rink, and this is where the non-diegetic music starts to play. Many medium and long shots of the couple are used throughout the scene, through this the viewers gain a better understanding of how strong their relationship is by seeing the majority of their body language, e. g. ret ention hands and laughing.Handheld camera shots also express a reliable kind of realism, and can make the audience feel as though they are part of the scene, rather than viewing it from a frozen position. After a few cuts shown of the three on the ice, the scene cuts to the first shot of Wisdom. The lighting and scenery change dramatically and also Wisdoms body language in the way he is walking, giving a sense of uneasiness. The medium shot also reinforces the tension as it suggests the passion of the drama. Subsequent to this, another few handheld camera shots of the ice rink are played, which then cuts to a short clip of Wisdom in a corner shop.As Wisdom picks up the Pot covered stadium a focus pull is used, focusing from the Pot Noodle onto Wisdom himself. This is done to subtly direct the viewers attention to a detail part of the screen. Further medium and long handheld camera shots are taken of Ricky, Shea and Curtis before it again warm cuts to Wisdoms narrative, this bei ng Wisdoms final and bimestrial shot in this sequence. A two shot of Godfrey and an associate light into frame, the use of a medium shot on the first character, then cuts to the second, intensifies their stern emotions, making the audience aware something potentially grave is going to happen to Winston.Cut to a medium-long handheld camera shot of Godfrey, and it is now very clear that they are holding baseball bats and are about to destroy the car. The clip fast cuts between both characters adding to the action, while changing the viewers perspective and seeing the event blossom from all angles. The scene cuts to a long shot of Wisdom in the store, confirming that Wisdom is still unaware, while adding to the suspense. Shots of Godfrey and his partner again follow, fast cutting between the two on either side of the car. strong cutting in this energetic clip gives the scene a sense disarray and urgency.Both characters then exit the scene. The soundtrack music then ends indicating the approach of action has passed as it cuts to Ricky and Shea laughing on the ice. While this scene intelligibly ends on a high note for the couple as they wedge each other, the same cant be said for Wisdom as it cuts back to him finding his car vandalised. Through his choice of editing, camera angles and sound, Dibb makes this sequence a pivotal scene in the film. Its underlying tension and contrast to both Rickys and Wisdoms lives suggest that Ricky and Sheas plans will not be followed through.