Improvements Section A answers
1) Add more institution information to answer
In 'Waterloo Road', initially shown on BBC 3, then moved to iPlayer online, the show has a fictional set-up based on a real high school. The majority of the stories are over-exaggerated in order to create excitement and attract viewers who may relate to some of the dramatical issues. Also, 'Educating Yorkshire', which is shown on Channel 4 is more of a reality/documentary style show which gives it a more realistic element. This is because 'Educating Yorkshire' has fixed cameras all around the school recording thousands of hours of footage, whereas 'Waterloo Road' is carefully constructed. Both shows use the theory of Todorov's equilibrium: 'Educating Yorkshire' shows how 'Mushy' improves his speech impediment and 'Waterloo Road' shows the girl who gets into trouble for wearing lipstick removing it by kissing another boy.
2) Add another theory
In both secondary texts 'Top Boy' and 'Kidulthood', there are a wide variety of characters who each serve a different purpose. For instance, there's a protagonist (victim/villain) and the princess type character who needs saving. Especially in 'Kidulthood', the one who needs saving at the beginning is a girl named Katie who is getting bullied in school, ultimately she commits suicide,. This creates more suspense and drama as it wasn't expected. This also adds to the theory of Medhurst, which addresses how people that are being bullied in high school need those issues to be addressed before it's too late.
MEST4 Coursework Blog.
Friday 22 April 2016
Friday 15 April 2016
Critical Investigation Final
Words: 3019
“You’ve
had an eventful day - bunking off school, buying alcohol illegally, defacing
Carli's drive and insulting Neil's dad - have I missed anything?[1]”
How accurately is youth culture represented in
'The Inbetweeners'?
Youth culture helps young people to
make sense of their identity and develop a sense of belonging. The issues for
youth culture cultivate towards the issues of drinking, the seriousness towards
education and changing attitudes towards society norms. These issues are most
prominent in ‘The Inbetweeners’, the most successful British sitcom, which
reflects youth culture with comedy purpose. ‘The Inbetweeners’ takes a
different comedic approach were the sexual jokes are over-exaggerated for
comedy purposes and comically hints at current issues which should be made
aware in today’s society in order to create an almost accurate representation
of today’s youth; this is evident through the themes of partying and drinking.
It’s strongly debatable whether youth culture is a time for teenagers to
“understand and navigate their way through the world”[2]
and ‘The Inbetweeners’ represents four independent male students through their
school journey facing a variety of situations which are not just humorous but
has a moral for the audience to learn from. The characters are seen to “occupy
that twilight zone between adolescence and maturity[3]”
whereby the two themes of “the innocence of childhood[4]”
and “the financial independence of adulthood[5]”
are made prominent. ‘The Inbetweeners’ is the only franchise which accurately
presents how British teenagers are in terms of their attitudes towards studies,
work and taking on adult responsibilities and displays “the social awkwardness
of unreciprocated crushes and embarrassing drunken misdemeanours is something
which almost everyone can relate to.[6]”
‘The Inbetweeners’ is a British sitcom
that originally aired on E4 from 2008 to 2010. Created and written by Damon
Beesley and Iain Morris, the show followed life of suburban nerd Will McKenzie
(Simon Bird) and his three friends at the fictional Rudge Park Comprehensive
high school. Shortly after the sitcom was
released, there were two ‘The Inbetweeners’ movies, the first one released in
2011 and the sequel, ‘The Inbetweeners 2’ in 2014. Together both movies
successfully made $151.8 million worldwide. The show presented situations of “school bullying, broken family life,
indifferent school staff, male
bonding, and largely failed sexual encounters.[7]”
There are many accurate representations as the characters could convey similar
lifestyles to British school boys, such as going to parties, pulling girls and
drinking, these are all stereotypical acts of an average British teenager. This
relates to the Uses and Gratifications theory by Blumler and Katz who carried out
research stating how “media use is a means to satisfy wants or interests such
as seeking information to reduce uncertainty or solve personal dilemmas.[8]”
‘The Inbetweeners’ is the focal point of comedy for British youth and this is demonstrated
mainly through the sexual jokes and awkward interventions.
‘The Inbetweeners’ is a teen comedy, as it is set
mostly in a high school and involves adolescent sexual adventure throughout. It
also involves elements of a social comedy as it draws on social realism, such
as providing a reasonable representation of teenagers in Britain and their
liberality and ability to have freedom to take on adult responsibilities and
this is a main feature of British cinema.
Also, ‘The
Inbetweeners’ uses a modern and social school environment mostly which makes it
suburban and more realistic. Throughout the show, lighting is always high key
which reflects the light heartedness and crude humour in the show. This helps
to fulfil audience pleasures, such as the crude jokes such as referring to each
other as “bus wankers[9]”
or when Simon and Neil are teasing Jay for having a new “football friend[10]”,
Jay snaps back and tell his mates to “f*ck off”. It also promotes that the
awkward events are something to be laughed at and anchors the show in the
comedy genre. This is appealing to the target audience, which consists of young
people aged 15-25, who use this show for entertainment and escapism, which links
to theorists Blumler and Katz who stated that audiences reach out and enjoy
certain texts to escape everyday routine. The Guardian states that the comedy
used is “undeniably rude, but often hilarious[11]”
as the comedy exaggerates the social and emotional situations the four boys
encounter.
Throughout the show,
it’s notable “situation comedies are a sub-genre of TV Comedy because their
primary intention is to entertain the audience the through humour but by
utilising a set of recognisable codes and conventions that are explored[12].”
This is evident through having a different representation of each character in
the friendship group, which is a typical convention. For instance: Neil is the gullible
one, Jay is the joker, Will is the nerd and Simon is the one who always manages
to embarrass himself in front of girls. ‘The Inbetweeners’ doesn’t use typical
features of a sitcom, for example there is no canned laughter which is usually
the main trait of a sitcom, and however the use of not having it differentiates
‘The Inbetweeners.’ The function of the show is to present to the audience to
learn from typical teenage mistakes, such as what happens when you drink too
much or embarrassing yourself in front of your crush. The character of Jay, who
is the joker of the group, has qualities that are admirable as he’s the popular
one and the youth audience could relate to this, especially the males who
aspire to be popular in school. In contrast, Neil is submissive and is usually
the centre of many jokes, this could relate to people who are bullied in school,
‘The Inbetweeners’ show bullying with a comedic effect. The characters are “all
are essentially fairly predictable ‘types,’[13]”
‘The Inbetweeners’ generates the idea of a patriarchal society as the
cast is mostly male-dominated. The theory for characterisation to be considered
is binary oppositions contrasting males and females. It is evident that “humour derives from
contrasting those values[14]”
and in
particular Carli, Simon’s crush, is “positioned so that they admire the male
lead for his actions, and adopt his romantic/erotic view of the women.[15]” Carli seems to make
Simon appear more passionate and infatuated with her. For instance, in the first
season, second episode, named “Bunk Off” Simon continuing obsession for Carli
is made noticeable and humorous as he comes over to her house to serenade her
with his love but instead ends up drinking too much and pukes on Carli’s little
brother, therefore this creates more humour because of the heightened awkwardness. In general, the “adolescents and young adults, particularly those of high
school and college age, engage in social situations which pressure participants
to drink far more alcohol than they would ever choose without that pressure.[16]” This is evident from the
scene as Simon drinks more than he can handle in order to impress Carli. Furthermore,
it’s clear that Carli is displayed as an object of his affection.
The fact she is white, has blond hair makes it more noticeable that she has traits
of a typical attractive woman. Theorist Laura Mulvey created the idea of the ‘male
gaze’ and how “females are subject of their (males) desiring gaze[17]”.
Straight away the programme begins with non-diegetic
sound, the theme tune ‘Gone Up in Flames’ which is an edgy upbeat song. As the
show begins we see a long shot of a teenage boy (Will), wearing a black smart
uniform and glasses. The paradigmatic choice of the glasses connotes
to the audience about the boy’s character, suggesting that he’s a nerd.
The show has used stereotypes so the audience can identify the characters
personality. Furthermore, the crude humour used in the show appeals
to the target audience far more than other comedy shows. The fact that this
humour is also used in the context of situations, like having an embarrassing
first car, further assists in enabling more people to relate to it and it is
overall more appealing for the target audience.
In the opening there is a panning shot as the boy walks
toward the school. The playground is just a basic field; however after adding
the loud school kids in uniform, it gives the setting more meaning, telling the
audience it is a school. The camera then cuts to the boy, now inside the
school walking down the corridor, followed by a non-diegetic voice over of the
character, followed by a montage of clips to introduce the character more and
also his past time at school. The effect of this allows the audience to
understand the plot line even if they had never seen this show before.
Meanwhile the theme tune is still playing quietly in the background, giving it
a quick structure. Then the other three boys (Simon, Neil and Jay) are standing
on the side of the road looking around, there is a long shot to allow the
audience what the characters are wearing. In comparison to Will, who’s dressed
all neat, the other three boys are still wearing their school uniform in a
scruffy and messy way to highlight that they are carless about school and education
in general.
Each character is very different as the character of
Will is very smart, clever and geeky looking and Jay is the character that
constantly lies to fit in with the more popular crowd. Neil is the character
who is always confused, and Simon is the character who always needs advise and
always embarrasses himself in front of girls. So by doing this, they have used
a wide range of personalities in which the audience can relate to or find
humorous. The title of the programme is 'The Inbetweeners’, which links to the
characters status, as they are outcasts and find it hard to fit in.
The use of mise-en-scene, in particular the costumes on
the main characters throughout the series helps to appeal to the target
audience. The main characters wear costumes that would normally be
considered fashionable clothing, by wearing brands such as Adidas and Nike.
This signifies that as these characters are trendy. This is a marketing
technique used to engage the target audience more so as it makes the characters
seem more appealing, and more people can relate to them.
The use of non-diegetic music whilst the characters are
in direct conversation makes the dialogue and conversations so more realistic.
Furthermore, the use of non-diegetic and diegetic music when the characters are
traveling in a car makes the traveling seem more instant, thus creating a
greater sense of excitement and interest for what would otherwise be seen as a
boring, pointless scene. In addition to this, the use of narration in
these sequences, not only helps to continue the narrative through these scenes,
but allows the viewer to establish a more personal relationship with
characters. This appeals to the target audience more because the characters are
put into situations which the target audience can easily relate to and this
then creates a more personal link with them as it’s expected that the viewer has
faced a similar experience.
The shots are predominantly 'medium close ups'. This
fits in with the fact that most of the scenes are dialogue. This connotes a
more personal aspect to the conversations and makes the audience feel as
if they are almost part of the conversation. Additionally, this element is
developed further by the large use of ‘shot reverse shot' editing to keep the
conversations fast paced and to again keep the viewer’s concentration and
attention. This also helps the dialogue seem quicker and more realistic. Other
camera angles are used for comedic effect, like long shots focusing on the yellow
car (a figure of fun, and main joke point of the segment). This helps
contribute to the comedic aspect of the show and ultimately helps the show fit
into its purpose of making the audience laugh and entertaining them. However
the yellow car is only successful as a comedic device, in the context that
it has been given to a young adult male, whereas stereotypically, the colour
yellow is associated with females.
‘The Inbetweeners’ series starts in disequilibrium for
Will as he moves to a new school and has no friends. However, all of the other
main characters are shown in equilibrium as they are good friends with each
other. They overcome many chaotic events and the friendship grows between the
four characters and then the whole series ends in equilibrium again. Each
episode shows evidence of rising conflict as they all start off fairly dull and
build up to a comedic event for the characters to overcome throughout the
episode.
Action codes are definitely created through the use of
up to date music, quick witty remarks from the characters and the interest of
the viewer being targeted from the start. Enigma codes are also created as the
viewer is left wondering what hilarious problem the characters will face in
each episode and they are also questioning why the characters, particularly
Jay, say and do the stupid things that they do.
Furthermore,
the idea of the “superiority theory[18]”,
“laughing at the misfortunes of others”, is the most notable theory used
throughout the show. Many British comedies embed this theory, such as ‘The
Office’, ‘Peep Show’ and ‘The Inbetweeners.’ The characters majorly embarrass
themselves throughout and this is most prominently presented in Series 3, where
there’s a school fashion show taking place and Simon yet again tries to impress
Carli; during the finale Simon suffers a major wardrobe malfunction exposing
more than his confidence. The audience tends to laugh at Simon’s mistake
because of his self-ignorance and the fact his genitals are shown heightens the
comedy. It’s possible that “the
"average" group of friends find themselves in all sorts of awkward,
embarrassing and often hilarious moments which all of us would have probably
encountered some time or another in our teen years.[19]”
However, it could be argued that the witty crude
humour in ‘The Inbetweeners’ gives a negative representation of youth culture
in the UK. It is evident that loads of foul language and sexual jokes are made
throughout, for instance in season one, episode four: the boys are all bunking
from school and decide to get drunk at Neil’s house; the boys are always
mocking Neil’s dad’s sexuality as they assume he is homosexual. As Neil’s dad
arrives home Will, the nerd of the group, who is intoxicated, randomly yells
out “bumbder” a mix of the words “bummer” and “bender” which are part of
British slang. The use of the word “bumbder” uses representation theory of ‘Richard
Dyer,’ “short-hand stereotypes[20]”
is created through the word “bender” as it is a British word and teenagers in Britain
tend to cuss their friends’ parents for banter. The disrespect factor depicts
how the youth are out of control as typically it’s seen as wrong to disrespect
somebody else’s parents. It could be interpreted as homophobic and could offend
some viewers. The word “bumbder” is memorable and is hilarious in some aspects,
but it makes it seem as if British teenagers have no respect and it could be
interpreted that the “sexist jokes are damaging to society.[21]”
because they are overly explicit. Also, in today’s society is it noticed that slang is used more broadly,
compared to twenty years ago.
Also, it’s been considered that ‘The
Inbetweeners’ doesn’t “represent young men in this country.[22]”
This is because the show is described as a “British rip-off of The Hangover 2[23]”
where the boys swear and get drunk as well as being able to “unaccountably
attract a quartet of physically attractive young women by doing so[24].”
It could be argued that the typical lad culture presented in ‘The Inbetweeners,’
which is done through the use of British accents and British slang, doesn’t
entirely represent the youth in this country. Critic, ‘James Buckely’ from ‘The
Telegraph’ stated how “most young men, or the ones I
know, are quite nice and normal and good people.[25]”
The area for debate also remains whether or not ‘The
Inbetweeners’ presents the social realism of British society. ‘Top Boy’ which is British television crime drama displays the more surreal wider issues
and concerns about the youth: such as gangs, gun crime and selling drugs. The
show demonstrates the struggles of single-parent families and neglected
children and gives a more realistic view on what British youth is about due to
the exploitations of crime and the gritty truth of poverty in the UK. At this
very moment, youth unemployment is at 1.2 million and ‘Top Boy’ demonstrates
how “selling drugs is seen as a
reliable income to many youth[26].”
‘Top Boy’ demonises the youth by sensationalising drug use and gang crime,
whereas ‘The Inbetweeners’ illustrates the typical situations teenagers are
faced with such as partying and embarrassing yourself in front of your crush
which are seen to be more minor issues.
In addition, ‘The
Inbetweeners’ could be seen to create moral panics. For instance, the ‘Mail
Online’ released an article stating how “Holidaymakers falling ill from
youngsters deliberately pooing in hotel pools: Inbetweeners 2 waterslide scene
blamed for 'abhorrent craze' of 'logging'[27]”
This is a moral panic as travel companies have threatened to fine those caught
pooing in the pool, this new craze labelled as 'logging' is inspired by the
scene in the 2014 film when Neil (Blake Harrison) poos down a waterslide at a
waterpark. Although it’s done for comedic purposes, this could influence
teenagers to be causing havoc, rather than studying. The hyperreality of society
generates an image of a generation which is fragmented as priorities lie high
with alcohol and having a fun time, rather than preparing teenagers for their
future. Also, The Inbetweeners is “based around theme of sex[28]”
which ultimately breaks “social taboos[29].”
In comparison, a
historical text, American sitcom ‘Saved by the Bell’ helps to highlight the
differences in American culture vs. British culture. ‘Saved by the Bell’ is an American
television sitcom that aired on NBC from 1989 to 1993. The show is full of light-hearted comedic situations which sometimes
touch on social issues, i.e. drug use. ‘The
Inbetweeners’ cast are all white, British males. In ‘Saved by the Bell,’ there
is a variety of ethnicities and both male and female characters in the group.
This could demonstrate how the British culture is more of a patriarchal
society, whereas the American society is more relaxed and open-minded to both
genders. ‘Saved by the Bell’ has a group of friends who are like a
"family" and this depicts how British comedy is more explicit and
this is evident in ‘The Inbetweeners’ through the consistent swearing and the
use of sexual innuendos. American programmes are very traditional is terms of
embracing family values, British comedy is more scatological as people in
Britain are more unprejudiced and liberal, this is evident through similar
British sitcoms such as ‘PhoneShop’ which is described by ‘The Guardian’ newspaper
as “one of the funniest 30 minutes of TV[30]”
as it has lots of crude humour, such as “charity ain't about you looking good.
Charity should hurt. You shouldn't be rewarded just because your hair grows.
That's like asking for £5 because you took a sh*t[31]”
quoted by Jerwayne one of the actors in ‘PhoneShop.’
In today’s society
the youth are not as restricted and this is most evident as the four boys have no
boundaries. This generation of teenagers described as “having more
freedom[32]”
and “appeared to have more money to spend[33]” and
this is evident as the boys have no restrictions and proves how youth culture
in a modern day society allows teens to have their own thought process without
their parents making decisions for the ‘The Inbetweeners’ accurately
displays the idea of living in a “culture of exploitation[34]”
where the youth exposed for their misdemeanours, such as underage drinking.
This relates to the majority of the target audience as they’d be faced with the
same social issues. The Inbetweeners sitcom was a success, gaining an 8.4/10
rating from IMDB and Bwark productions made two movies out of the show. This is
because “people truly connect with it[35]”
and the obstacles the characters faced. ‘The Inbetweeners’ connects with the youth
culture mainly through the crude humour used, the overly exaggerated sexual
innuendos and the suburban school setting which all are shaped to entertain the
audience. The performance within the show is appealing as the comedic value of
it offers a sense of escapism. The setting creates a substantial link that the
audience can form between themselves and the show, making the events and
occurrences more relative and ultimately making the show more immersive and
entertaining.
Bibliography
Works cited
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G., & Falk, U. (2005). Youth culture and the generation gap. New York,
N.Y.: Algora.
Gauntlett,
D. (2002). Media, gender, and identity: An introduction. London: Routledge.
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D. K. (2002). Theory and research
in mass communication: Contexts and consequences. Mahwah, NJ: Erlbaum.
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C. (2008). Contemporary Cambodian cinema: Gender and generations.
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E., & Ebrary, I. (2012). Modern Britain: A Social History, 1750-2010. (3rd
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S. (2005). Contemporary Youth Culture [2 volumes]: An International
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A. M. (2005). Comedy. New York: Routledge.
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C. (2015). Comedy and social science:
Towards a methodology of funny. Routledge.
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Amy Croffey for Daily Mail Australia. (2014, August
14). 'I won't let them watch it!' Inbetweeners star James Buckley thinks it'll
be too embarrassing for his boys and dreads to think about them ever turning
out like Jay. http://www.dailymail.co.uk/tvshowbiz/article-2724516/Inbetweeners-star-James-Buckley-thinks-itll-embarrassing-boys-dreads-think-turning-like-Jay.html
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Inbetweeners that we’re still not tired of using. Retrieved from http://metro.co.uk/2014/01/22/the-most-quotable-lines-from-the-inbetweeners-that-were-still-not-tired-of-using-4268249/
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West End. (n.d.). Retrieved February 13, 2016, from http://www.shadowlocked.com/201101201315/lists/top-10-inbetweeners-quotes.html
MailOnline, T. T. (2015). Holidaymakers falling ill
from youngsters deliberately pooing in hotel pools: Inbetweeners 2 waterslide
scene blamed for 'abhorrent craze' of 'logging' Retrieved March 21, 2016, from http://www.dailymail.co.uk/travel/travel_news/article-3142119/Holidaymakers-falling-ill-youngsters-deliberately-pooing-hotel-pools-Inbetweeners-2-waterslide-scene-blamed-abhorrent-craze-logging.html
Pierce, C. (2014, August 22). How the Inbetweeners
came of age and conquered culture. Retrieved December 4, 2015, from http://yearofthewolf.com/2014/08/22/how-the-inbetweeners-came-of-age-and-conquered-culture/
Renshaw, D. (2013). Have you been watching ...
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S. F. (2009, July). The Changing Field Of British
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Top Boy - the gritty truth of London gang culture -
South West Londoner. (2011, November 26). Retrieved from http://www.swlondoner.co.uk/top-boy-the-gritty-truth-of-london-gang-culture/
The Guardian (2009).The Inbetweeners is more realistic
than Skins: http://www.theguardian.com/culture/tvandradioblog/2009/apr/03/inbetweeners-skins-teen-realism
Trumble, P. I. (2011). TOP 10 QUOTES FROM THE INBETWEENERS.
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J. (2002). Media semiotics: An introduction (2nd ed.). Manchester: Manchester
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Mallan,
K. (2003). Youth cultures: Texts, images, and identities. Westport, Conn.:
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E. (2009). Encyclopedia of the social and cultural foundations of education.
Thousand Oaks: Sage Publications.
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R. (2013). Mod! From bebop to Britpop, Britain's biggest youth movement: Bodley
Head
Warikoo,
N. (2011). Balancing acts youth culture in the global city. Berkeley:
University of California Press.
Vorhaus,
J. (2012). The little book of sitcom: CreateSpace Independent Publishing
Platform
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Alice
Vincent: The Inbetweeners: 'Lad culture doesn’t represent young men in this
country' (2014,). Retrieved from http://www.telegraph.co.uk/culture/film/film-news/11253840/The-Inbetweeners-Lad-culture-doesnt-represent-young-men-in-this-country.html
Flanagan,
K. (2013). Top Boy, Season 1. Retrieved from http://www.literarylondon.org/london-journal/spring2014/flanagan2.pdf
Haurdhan,
M. (2011, November 26). Top Boy - the gritty truth of London gang culture -
South West Londoner. Retrieved December 4, 2015, from http://www.swlondoner.co.uk/top-boy-the-gritty-truth-of-london-gang-culture/
Lucas,
J. (2013). Channel 4's Top Boy slammed for reinforcing hood stereotypes.
Retrieved from http://www.voice-online.co.uk/article/channel-4’s-top-boy-slammed-reinforcing-hood-stereotypes
Porter,
K. (2008). Underage drinking in Britain 'among worst in the world' Retrieved
from http://www.telegraph.co.uk/news/uknews/law-and-order/2140278/Underage-drinking-in-Britain-among-worst-in-the-world.html
Shelly.
(2013, August 20). Gangs, guns and drug dealers: Was Top Boy's portrayal of
life in Hackney too hackneyed and American? Or a harrowing insight into the
youth of today ? http://www.dailymail.co.uk/tvshowbiz/article-2398443/Gangs-guns-drug-dealer-Top-Boys-portrayal-life-Hackney-hackneyed-American-harrowing-insight-youth-today.html#ixzz3oXxgH17d
The
Guardian (2011). Top Boy gets a mixed reception from Hackney's youth - http://www.theguardian.com/uk/2011/oct/30/top-boy-reviewed-by-hackney-residents-panel
Tim
Oglethorpe. (2011). It's Britain's biggest grossing out comedy -and it's REALLY
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(2009). The Inbetweeners. https://en.wikipedia.org/wiki/The_Inbetweeners#Critical_reception
Filmography/ moving image:
·
The Inbetweeners (TV series), E4, 1 May 2008 – 18
October 2010, UK
“Bunk Off” – season 1, episode 2,
“The Fashion Show” – season 3, episode 1
·
‘Top Boy’, Channel 4, 31 October to 3 November
2011
·
‘Saved By The Bell,’ NBC, 1989 – 1993, U.S.
[1]
Wayne, J (2014) p.g. 33
[2]
Steinberg, S. (2005). pg.25
[3] How the
Inbetweeners came of age and conquered culture. (2014, August 22). http://yearofthewolf.com/2014/08/22/how-the-inbetweeners-came-of-age-and-conquered-culture/
[4] ibid
[7] Over
11,300 fans sign campaign for more of The Inbetweeners. (2015). http://www.atvtoday.co.uk/67336-e4/
[8]
Perry, D. K. (2002). pg. 71
[9]
Trumble, P. I. (2011)
[10]
Cicurel, D. (2014)
[11]
The Guardian (2009)
[12]
Situation Comedy Genre. (2015). Retrieved December 28, 2015, from
http://media.edusites.co.uk/article/situation-comedy-genre/
[13]
How
the Inbetweeners came of age and conquered culture. (2014, August 22). http://yearofthewolf.com/2014/08/22/how-the-inbetweeners-came-of-age-and-conquered-culture/
[14]
Bignell, J. (2002)
[15]
Gauntlett, D. (2002). Media, gender, and identity: An introduction. London:
Routledge. Pg. 39
[16]
Falk, G., & Falk, U. (2005). Pg. 42
[17]
Gauntlett, D. (2002. Pg. 38
[18]
Watson, C. (2015). Pg. 13
[19]
IMDB. (2009)
[20]
Peou, C. (2008). Pg. 41
[21]
Media Magazine – April 2010 – MM32
[22]
Tookey, C.. (2011).
[23]
Ibid
[25]
Croffey, A.. (2014, August)
[26]
Mansha Haurdhan. (2011, November 26).
http://www.swlondoner.co.uk/top-boy-the-gritty-truth-of-london-gang-culture/
[27]T.
T. (2015 )
[28]
Media Magazine – April 2010 – MM32
[30]
Renshaw, D. (2013).
[32]
Royle, E., & Ebrary, I.
(2012). Pg. 334
[34]
S, J.
(1995). Pg. 42
[35]
How
the Inbetweeners came of age and conquered culture. (2014, August 22). http://yearofthewolf.com/2014/08/22/how-the-inbetweeners-came-of-age-and-conquered-culture/
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