Textual Analysis 2: Channel 4 3 minute wonder “Street Art”

By Jack Archer, Alex Duckett and William Laufs

**Opening Title: (00.00- 00.05 secs)

O The 3 minute wonder begins with an establishing shot of the ongoing construction of a city skyline, using the time lapse video/photography technique. This therefore connotes how street art is becoming increasingly popular among people in Britain, which is further explored later in the short film. Then, a rhythmic, dissonant score crescendos into play connoting how there are various examples of “art” and that street art is one of these examples.

**Documentary Title: (00.05- 00.07 secs)

O The use of another establishing shot here connotes how the street artists use the streets as their canvas.

O The title, consisting of the spray painted words “STREET ART” using a stencil, immediately engages the audience and connotes the topics raised in the 3 minute wonder.

O In addition, the use of a hand held camera here further connotes how street art is subjective and that the audience for this shirt film is niche as street art in itself, is subjective.

Medium Shot of Woman (Voice of Authority) (00.07-00.18 secs)

O The 3 minute wonder then cuts to medium shot of woman, as the camera tilts upwards and pans right to follow the woman as she talks directly to the camera via diegetic, voice of authority dialogue. These technical elements and camera movements, accompanied by the inclusion of street art in the background and a long take of the shot connotes how the distribution of street art in London is widespread and influences many people across the city. The use of the Voice of Authority here is conventional for Expository Documentaries like this one.

00.22-00.28 secs…O Slightly later on the 3 minute wonder, the

camera then cuts to a long take of “Sweet Toof” at a medium shot as he discusses what art means to different people via diegetic dialogue as a non-diegetic, rhythmic score is heard. The closeness of the shot accompanied by the other technical elements mentioned connotes how “Sweet Toof” has a passion for creativity.

00.32-00.48 secs…O At this point of the camera cuts to a series of

short, hand held camera takes whilst the rhythmic, non-diegetic score is still heard. This connotes the unpredictability and the expansive imaginations of the artists and emphasises how they do small projects in various locations.

O Furthermore there is a eye-line match at medium shot at around 40 seconds where the male artist throws a piece of potato art on top of a bus stop. This connotes the artists passion for his work.

00.52-01.20 secs...O At this point in the clip, there is montage footage

shown with more short takes as the artist, via a non-diegetic voiceover describes how he does his artwork. Throughout, there are many close ups as well as a few medium long shots of the artist doing his work. These shots and the voice of god together connote how the artist is focused on his work, and the distance created by the long- distance shots connote how he has little surrounding him that distracts him, showing his determination and passion for his work.

01.20-01.23 secs...O At this point, there is a sound bridge as the

artist is shown at a high angle, medium shot as he describes the state that his finished work is left. As he describes them as being “unattended”, the technical elements mentioned connote the vulnerability of his projects in the open air.

01.33-01.36 secs...O There then follows a still, medium close up of

the artist in ambient/low-key lighting as he describes how his work evokes controversy from the general public. The intimacy created by the shot connotes how public opinion is topical issue for these street artists. However, the shot could be read differently, as the lack of camera movement and low-key lighting could connote how this artist is not affected by the controversy.

01.42-01.47 secs...O At this point, there is an establishing shot of

a building as another artist is painting it, as the rhythmic score fades out and ambient sound of traffic fades in. This shot accompanied by the sound transition connotes how extensive some of these pieces of art can be and that the artists use an array of “canvases” for their work.

01.47-01.50 secs...O The camera then cuts to a medium long and

off-centre shot of the artist after a sound bridge is heard as he discusses his current art project. These technical elements and that the artist is not centre shot connotes how his work is important to him.

01.56- 02.01 secs...O There is the a series of short takes varying

from an extreme long shot to a medium shot and as well as camera angles, whilst a non- diegetic, rythmic score is still heard. This could connote the subjectivity of street art and also how hard these artists work to complete their projects.

02.04-02.09 secs...O The camera then cuts to a series of shots

that follow the same artist’s movements, such as the high angle then low angle, medium close ups with slight tilts upwards and held hand medium shot followed by the medium long shot. There is also ambient sound of traffic and other city noises. This connotes the judgements made by the general public when viewing the street art.

02.12-02.17 secs...O A little further in the clip, there then follows

an extreme long shot, medium shot and then another extreme long shot of the finished piece of art, all with hand held camera and ambient diegetic sound. These technical elements connote the sheer size of the artwork and how it is now a spectacle and an attraction to the general public.

02.20-02.31 secs...O Later there is a sound bridge as there is a long take of

the artist “Sweet Toof” as he is shown at a medium close up talking about how he got into art, connoting his feelings of nostalgia and how art has important a significant part of his life.

O After this there is montage footage of “Sweet Toof” as he works on various projects at a close up, long shot and medium close up, with a non-diegetic voice of God also being heard alongside a rhythmic, dissonant score connoting his passion for sculpture, emphasised from his non- diegetic speech.

02.40-02.45 secs...O At this point in the 3 minute wonder, there follows a high

angle, medium close up of a book with various designs being blown by the wind, connoting the idea of how artists have a vivid imagination, followed by various short takes of artists running at medium long shot painting on a side street wall. As these shots have a distorted picture, this could emphasise and connote the spontaneity of the whole process of creating street art.

O This is then further emphasised when “Sweet Toof” later in the clip says, via non- diegetic voiceover that with street art it is more “spontaneous”.

02.52-02.58 secs...O Here, accompanied by the rhythmic, non- diegetic

score, the short take of the low angle medium shot of the artist spray painting connotes the physical strain on the artists to complete the work due to time constraints.

O There then follows more montage footage with a series of short takes as more artists work on the artwork. Accompanied by the diegetic ambient sound of the streets and the non- diegetic voice of God of “Sweet Toof”, this connotes the dedication of the artists to complete their project(s).

03.03-03.09 secs...O From this point, there is more montage footage as the

interviewer from the beginning of the 3 minute wonder asks a question to “ Sweet Toof” via non-diegetic dialogue/ voiceover. As this occurs, there is the inclusion of short takes as the artist is shown at medium, long and medium long shot as he continues working on the street art, whilst the non- diegetic rhythmic score is still heard with ambient diegetic sounds of traffic.

O This therefore connotes the progression of the artwork and further emphasises how they are under pressure to complete the art and “How the London scene’s developed”.

03.20-03.25 secs...O Finally, the 3 minute ends with a split screen of the

finished artwork at various distances. As this happens, a non- diegetic, rhythmic and dissonant score crescendo’s until ambient diegetic sound is no longer heard. This connotes the sense of accomplishment the artists gain from completing their work.

O The 3 minute wonder then ends with two successive extreme long shots of the finished artwork, with traffic passing through the screen. This therefore further connotes how the artwork is now a new spectacle for the passing public to view.