Quadrophenia Essay

In the 1979 released British film 'Quadrophenia', youth cultures are presented. Youth culture is the sum of the ways of living of adolescents, referring to the body of norms, values, and practises recognised and shared by members of the adolescent society as appropriate guides to action.  Both within the film 'Quadrophenia' and the society of the 21st century, teenage representations are seen to be represented similarly. Teenagers today are represented negatively within the media, as shown in soap operas, movies and the news. Usually stereotypical views define teenagers as sex-crazed, troublesome rebels whom show no responsibility for themselves. Likewise, representations in 'Quadrophenia' mimic these showing adolescents involved in scenes of sex and violence along with the use of drugs and explicit language. In the film, a variety of youth cultures are presented however, adolescents are predominantly identified to be violent/threatening but also considered to identify more with a 'tribe' or a 'gang' more than their own family. Youth violence is a key aspect surrounding the subject of the film, having been based on the May bank holiday Brighton riots. The clashes occurred amongst the youth, due to their differences in music. You were either a Mod or a Rocker, nothing in between.

This is seen on the artwork of the DVD cover with the statement, 'A WAY OF LIFE' suggesting that either being a Mod or a Rocker is like that of following a religion. Exploring the artwork further, the inclusive pronoun use of 'we' indicates the togetherness of the 'gangs', evidencing the youth representation of almost replacing birth families with a group of Mods or Rockers. Marginalised on the right of the DVD cover stands Jimmy, the centralised character of the film. From this imagery, a Mod youth subculture can be identified from the costume. Fashion adopted a smooth, sophisticated look with included thin ties and button down collar shirts. The military Parka was also seen as a traditional item of clothing, defining a Mod suggesting their proud British background status. This is furthermore supported with the blue, red and white colour scheme representing a youth subculture group exclusive to Britain. Moreover, the Q in 'Quadrophenia' is symbolised with the Royal Air Force roundel. This was used in pop culture, being associated with pop art in the 1960s and being used as a personal signature of the Mods style. The roundel also became part of the pop consciousness when the British rock group, The Who wore RAF roundels as part of their stage apparel at the start of their career in 1964.

The DVD cover therefore interlinks with the soundtracks within the film, being endorsed by The Who. Although, the Mods didn't listen to Rock, a prominent Mod first managed The Who therefore constructing a Rock Opera album from the original Quadrophenia. The score was written pre-film being recorded from 1962, 17 years earlier than the film release. The music follows the narrative of the film, linking with the title of the film 'Quadrophenia'. This concerns the four distinct personalities of Jimmy, with the song describing how he angrily deals with several individuals in order to identify the 'Real Me'. The film is set in 1964, with Jimmy being disillusioned by his parents and a job as a post-room boy at an advertising firm. A bank holiday weekend provides an excuse for the rivalry of the Mods and Rockers to go ahead, as they both descend upon the seaside of Brighton, leading to the arrest of Jimmy. Back in London Jimmy becomes increasingly depressed, being thrown out of his house by his mother, quitting his job and finding out that his crush is the girlfriend of his friend, Dave.

When analysing a short extract from the film, you are able to see how youth cultures are represented in Quadrophenia. In the initial soundtrack, the 'Real Me', a variety of youth culture representations can be depicted from the lyrics. Firstly, 'I said I'm crazy, ma, help me!' represents the youth as being damaged. Asking for help would suggest that something is wrong and crazy further suggests that the youth have been affected with insanity. This is a negative representation of youth as the use of the word 'crazy' may be used as an insult to describe someone. Next the lyrics identify the youth as victim. 'She said, I know how it feels son cos it runs in the family'. This implies that the youth have no escape from the negative stereotypical view possessed by others however, this allows the audience to feel sorry for adolescents. Finally, the lyrics also suggest that the youth are alienated from society. This is seen with the repetition of the line 'Can you see the real me'...preacher, doctor, mother. This presents connotations of no one listening to the youth, having to repeat the question numerous times to different associates therefore, referring to isolation of the youth. Furthermore, inimical representations are shown with the use of explicit language, adopted by Jimmy when communicating with both the Mods and Rockers. This could therefore represent the youth as ungrateful, showing a lack in the appreciation of their peers.

The Mise en Scene in the opening sequence of the film tells you a lot about youth representations. The composition poses Jimmy on his scooter, riding through a town late at night. The dark lighting instantly stereotypes youths negatively as night is generally associated to be the time when society deems bad things happen. A common link would be crime, which adolescents are typically endeavoured too. The only lighting immediate is seen to be the headlight of Jimmy's scooter. This could therefore represent the Mod lifestyle to be that of a religion, connoting light at the end of the tunnel. The Mod sub culture is furthermore, easily identified by the dress of Jimmy, seeing a young man perched upon a Vespa in a large military parka in contrast to the Rockers of whom wore heavily decorated leather jackets. Further into the sequence, low key lighting is utilised. This occurs when all the Mods are together within the dance hall. The lighting hereby represents safety with the increased number of Mods, also projecting a sense of togetherness. Additionally, the excessive amount of dancing carried out by the Mods is fuelled by their consumption of Amphetamine pills. Wanting to be part of the culture, Jimmy is seen to pay a lot of more money than he wanted to for the pills. Thus, this shows the lengths individuals would go to to 'fit' into society. However, drug taking could stereotype the youth antagonistically, providing evidence to a Broken Britain as the society was in a state of social decay, relaying on the consumption of speed to encourage social interaction.

The majority of the camera shots comprise of long shots and mid shots. In Long shots this allows the setting to be established, influencing contextual factors. For example, when Jimmy abruptly gets surrounded by the pack of Rockers, a long shot enables the audience to see, not only the body language of Jimmy, but also that of all the Rockers. Mid shots are furthermore, intricately used in order to show the changing facial expression and attitude of Jimmy as the Rockers approach.  At this point, the youth culture are represented as anti-social, not willing to interact with the opposing gang. This could also influence other generations views of the youth, typically seeing the youth having identified with their 'gang' more than their family, suggesting a key socialising demographic. As Jimmy pulls into the dance hall location, a long shot provides a mass setting of Vespa bikes. This defines the Mods, showing how the group idealise around certain material goods in order to establish their subculture.

Finally when considering the editing, only jump cuts are used. Using only the singular edit could suggest the singular identity of either a Mod or a Rocker. From the opening sequence the presumption of Jimmy changed from seeing him to be an unique individual to someone whom, fell into a mass group, following fashion and material trends. Hence, the youth culture could be identified as a stage of identity, feeling as though they have to clearly fall into the group of either a Mod or a Rocker.

To summarise, youth culture is generally portrayed in a negative light, presuming adolescents to be anti-social and violent.These assumptions are represented in 'Quadrophenia' however, this film was based on the May Bank holiday riots and therefore, sampling a bias event. Furthermore, 'Quadrophenia' illustrates the youth to have a loss of identity, showing Jimmy falling into the generic characteristics of the Mod lifestyle re-leaving the character of any individuality.

Audience Research

http://www.surveymonkey.com/s/WVRKCDK

Summarising Texts

1964: Mods and Rockers jailed after seaside riots (BBC)

The BBC article gives negative connotations to both the Mods and Rockers calling them 'gangs'. This defines both groups as being 'opposite' to the locals, instead being classed as criminals. With the stereotyping of these groups as criminals, the article uses words such as 'terrorised', 'smashed' and 'vandalised' to exaggerate the extent of action by the local groups in hope to scare residents therefore, spreading negative stereotypes of both the Mods and Rockers.
Furthermore, from the article you are able to tell that the two gangs were intentionally wanting to cause trouble, 'They threw deckchairs around, broke them up to make bonfires, shouted obscenities at each other and at passers-by'. This illustrates that both groups were willing to cause trouble with whatever they could get their hands on also, targetting local residents as well as the opposing gang.

Wildest Ones Yet (Daily Sketch)

Within the headline, 'battling' suggests a large scale conflict between the two groups, almost comparing the dispute to war. Also the 'wildest ones yet' represents the Mods and Rockers as more savage than both the Bowery Boys and Teddy Boys. Additionally, this may be seen in the line 'attacks on police' possibly demonstrating the gangs to be a stronger force than the police. However, the imagery upon the front page of the newspaper portrays the Mods in a negative light, showing two leather jacketed Rockers jumping to safety from Mods chasing them with deckchairs.

But were they staged by the press? (The Independent) 

The Independant again, exaggerates the story of the casade between the Mods and Rockers. 'beat each other senseless' suggests the extended savage of the two groups. 'gleely horrified' furthermore, represents the effects of the Mods and Rockers in the press, dominating headlining news. Even the dress of the groups, negatively stereotypes the Mods and Rockers as being trouble, suggesting the individuals to be dirty. When considering the title of the article, 'But were they staged by the press' the text presents that the gangs were, portraying fake moral panic along with fake assets such as where the 'photographer paid the lads'

Development of ideas

From our initial idea of a narrated illustration of a broken relationship, we have decided to change our storyline to that of a person who is hooked, instead of on a person, but to alcohol and drugs. This therefore, contradicts the traditional idea of a relationship break-up, but alternatively relates to extreme consequences of thus eventuality, creating a controlling addiction. Furthermore, we have desputed that the majority of our music video will be in black and white, therefore acting as a signal of the past however, the alternative stop-motion instalement, will be photographed in colour consequently, representing the present and also reflecting moments of happiness. When generating intertexual references, the music video 'A-Team' by Ed Sheeran acts as an influence for our music video, devising the use of a black and white filter over the entire sequence. Not only this but, the synopsis of the video is also likewise to themes which in turn, we idealise to use. Additionally, 'Flashing lights' by my previously studied artist, 'Chase&Status demonstrates a video compiled around the subject of alcohol and drug addition. This has thus, impressioned our music video with the use of a red filter. This is an effective approach, using red to symbolise the danger of alcohol and drug abuse.  Finally, an effective shot used, is a low angle 360 Arc. Personally, I feel this represents the absence of the mind due to the spinning sensation of which the shot produces. Moreover, this is present too in the 'Shrooms' trailer, used to illustate insecurity.

Noticeably, there are certain motifs that run through videos surrounding drugs and alcohol. Firstly, the idea of reflection is common. Both videos having discussed above, witness shots of dirtied mirrors, possibly representing the lack of self understanding. Not only this but, a bird's eye view shot is used to capture a figure underwater, regularly within a bath tub. This can be seen in music videos such as 'Damage' by Fit For Rivals, which encompasses the idea of drug taking therefore, being used to symbolise entrapment within a vicious cycle. This may also be noticed in a more subtle way, through the use of small, claustrophobic spaces. These common conventions will furthermore act as domineerig shots within our music video. Finally, the theme of depression is always withstanding in music videos sounding the consumption of drugs and alcohol. This may be the initial cause or ultimately the consequences of such actions. This can be seen in the music video, 'Everybody's Fool' by Evanescence when the teenage girl is frantically scribbling away on the face of a female image within a magazine, possibly representing the distancing of herself from others.

On the other hand, we also hope to dress our main casting actress in th usual stereotypically clothing associated with 'druggies' or 'alcoholics. This will consist of the female who is pale in face with smudged mascara thus, portarying a individual who is physically suffering from a deficiency in health, having lost all care. In addition, the clothing of the girl will be ripped, representing a hassled and damaged past that is being carried through to the present in a mental state of mind.

Lesson Notes

1900 - 1940

• 400% rise in high school enrolment in the USA
• This in turn led to the creation of 'Peer Culture'
• Magazine (and fashion, beauty)  industries targeted the insecurities of adolescent girls
• Post WWII created a demand for labour, which in turn created adolescent disposable income

In the early post war period, in both Britain & the USA, the term 'Youth Culture' was primarily used to refer to the mass culture of certain groups of working class men (Abrams 1959)

In particular, the growth of consumer society, rising living standards and forms of mass entertainment became equated with specific modes of negotiating the transaction from working class male child to men

1945 - 1960 : Birth of the Teen

• Economic potential is obvious - Market of the future
• However, negative stereotypes began in the media
• Youth simultaneously represented a prosperous and liberated future and 'a culture of moral decline'
• This was the first sign of adult cultures dichotomous image of teenagers
• However, they are still a lucrative target market 

Negative stereotyping to protect power structures

• Antonio Gramsci defined cultural hegemony as when a ruling class dominates a culturally diverse society (1931)
• Ruling classes want to stay in control. Therefore, any culture that threatens the Status Quo is a problem for them and is seen deviant
• Therefore, by branding this behaviour as a moral decline, the ruling class maintains a cultural hegemony as society turns against it. Stanley Cohen (1987) said that the media helps exaggerate this power, while Eldridge thinks that the media reproduces the definition of the powerful (1997)

Teddy Boys

Lesson Notes: Teddy Boys (1950s)

• Fashion based upon Edwardian dress, hence 'Teddy' Boys
• Sought to experiment with 'Dandy' fashion, appearances and practices as an antidote to poverty and poor life changes (Fyvel 1963)
• Enjoyed American Rock n' Roll music, idolising James Dean, Elvis Presley and Marlon Brando (Brake 1985)
• Believed in both, Narcissism and Dandyism at the same time
• Associated with violence derived from a 'Butch' dandyism, which sought to protect working class masculinity
• Compared to 'Flies'
• Referring to the Teddy Boys as 'those' or 'these' - classing them as things
• 'They need curing like an Illness' 

The Teddy Boys began to appear in the early 1950s on the streets of South and West London. Sometimes known also as the 'Edwardians' due to the time period, the Teddy Boys were a Dandified street gang. Their extravagant contrast of dress, either being an expensive Edwardian 'Ted' suit or 'drape' jackets made them popular subjects for the expanding media of magazines and television in the 1950s. However, the Teddy Boy became a media folk devil, spreading their image far beyond the original metropolitan gangs, until the Teddy Boy became a nation wide teenage style, being called the 'Teenage Terrorists' 


The adoption of upper class dress by working class youths was a defiant act, however, the exaggerated style of their dress also made them an easy target. The media constantly attempted to discredit the Teddy Boys by ridiculing their appearance, calling them such as a 'monkey in a drape'. With the representation of style in the earlier years, the Teddy Boy went through a third stage of a vintage or retro style. 

Evening Argues: 'Get Rid Of Them'

The article states the Teddy Boys as 'self-advertising nincompoops' This would suggest that the media suggests the dress and action of the Teddy Boys is ultimately down to attention. 'Nauseating' would furthermore represent peoples opinion of the boys, being that they are disgusting specimens, witnessing disgrace and embarrassment to the people of Brighton. Interlinking, this would see a decline in visitors to Brighton, as people wouldnt want to be in sight of this menacing figure. 

Sunday Chronicle: 'Gangs Menace Report'

The media used extreme words such as 'terrorised' and 'savaged' to exaggerate the actions of the Teddy Boys in the purpose of causing increased panic to the locals. Furthermore, many words with negative connotations were included, for example using 'thugs' or 'gangs' in place of the word group. The article word also suggest that the police came out in unusual numbers to deal with the Teddy Boys, portraying them as a strong force. This is additionally supported with the use of 'the Edwardians have the upper hand' and also 'The visiting gang from Southsea got the worst of it'. This lexis was used to portray the Teddy Boys as a folk devil, spreading the negative connotation nationwide. 

G325: Media and Collective Identity

What are the similarities between Youth Cultures?

• Signifying dress code, usually influenced by music
• Formed around 'expression'
• Rebellion from the 'tradional' appearance therefore challenging 'normality'
• Literature involved on the scene, such as fan magazines and forums
• Cultural practices including behaviour and morals (eg. smoking or head banging)
• Conformity of a group - sharing beliefs
• Often have an opinion leader who can change ideas amongst the group etc.

COLLECTIVE IDENTITY - The self that finds solidarity with others who are similar

MEDIATED - How the media portrays the social group and therefore influence their identity

Links to 'WE MEDIA' - Marginalised social groups have often used media as a way of forging their own collective identity

This 'WE MEDIA' can challenge how social groups are represented by the media. This is a form of self representation

It can also be used to describe people who do not have professional qualifications or industry experience in the media

PROSUMERS - A merge of the two words 'producer' and 'consumer'. Prosumers are people who used to only consume media, but now create and distribute it too. this change has been facilitated by the proliferation of technology. 

Summary of Youth Culture

The 'teenager' is a constructed social group. They were in part, made my marketers so that they can sell products and services to them

• They were created by post war capitalism and marketing
• In the 1960s and 1970s, teenagers rebelled against consumerism and being marketed towards by forming a counter-culture
• The Counter-Culture became their own Youth Culture. 
• This trend has been continues by the formation of the user-generated cultures online

'Young people have a wide range of colourful labels such as 'Goths' or 'Skaters', used to make a distinction between behaviours of specific friendship networks'. (Kettley 2007)

'Many of these groups of young people are, however, not associated with patterns of behaviour that persist over time' (Brake 1985: Hodkinson & Deicke 2003)

The 'Bowery Boys'

The Bowery Boys or 'Soaklocks' were one of the first identified teenage groups or 'gangs'. Based in New York, Manhattan in the 19th century, the gang was both Anti-Irish and Anti-Catholic. This therefore, initially exhibited their appearance and behaviour in a negative manner. 

'A high beaver hat, with the nap divided and brushed in opposite directions, the hair on the back of his head clipped close, while in front the temple locks were curled and greased (hence, the well-known term of 'soap-locks' to the wearer of them), a smooth face, a gaudy silk neckcloth, black frockcoat, full pantaloons, turned up at the bottom over heavy boots designed for service in slaughter houses and at fires; and when thus equipped, with his girl hanging on his arm, it would have been very injudicious to offer him any obstruction or to utter an offensive remark.' (Charles Haswell)

The description of a typical b'hoy would suggest:

• That they are not incredibly manly, showing youth
• They have particular arrogant characteristics