Police and Youth
- The camera angles tend to place the young people and the police in a two shot, on either side of the camera, this creates a distance between them, and therefore we can infer a tense relationship, but as the camera pans with the young person, it gives them an element of power, almost like they're winning a battle
- Jump cuts are used in chases like this to make a tense atmosphere for the viewer, and allows the camera to make us see the emotions - commonly anger
- Lots of diegetic sound of shouts and footsteps when running are emphasised to make the chase seem more real and purposeful to the viewer, and this combined with the non diegetic sound of fast paced music that is current for the youths, makes the viewer on the youths side
- Mise en scene shows the conventional stereotype of hooded young people, and the connotation that they cause trouble, and the streets of London are not busy, we do not see people looking out of windows, making this type of occurrence a common sight.
Escape
- With the loose framing that is shown here, we see that Sam that has got away, and he is centred showing that he is the only one that he's currently got to back himself up, but the viewer is kept at a social distance with the mid shot, so it's not uncomfortable.
- The scene continues on to editing a series of still shots that creates a disjointed effect, and mirrors the fact that in his mind, things aren't going smoothly
- The fast paced soundtrack still continues to play, we know that the tension is not quite over yet, he doesn't make any noise, to not create attention to himself, but he only has himself
- We see Sam change out from a light blue hoody, to a dark one, he obviously came prepared in this situation, and the darker colour aids him to camouflage into the background as he walks away
London
- Now Sam has tight framing which makes him blend into the street more, and he is not centred, minimising his importance in the big city
- Graphic matches are used when two different police cars drive past Sam and we see him become more agitated about the consequences of his actions, continuity editing shows time moves forward
- Sound bridges are used in combination with the graphic match, showing that even though time has moved forward, the same atmosphere is found around London
- Iconic London buses, the police cars, and the police officers are shown as a common occurrence around London, and that no one is an individual, packs of people are found and everyone blends into one another
Locations
- Camera angle of establishing shot shows the many flats in the building and Sam on the other side of the shot, making the size of the flats tower over him
- The next shot is a jump cut of Sam smiling and looking up at the flats, for him the flats are security, something that he needs in this situation
- The non diegetic soundtrack is still playing, and continues on liked he's in his own private world until Jay pushes him to the floor, hitting him back to reality
- The flats are still dark and dismal and use dull colours, making the reality of a secure home more real, even though the area is run down.
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