MEST4 Coursework Blog.: 2016

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

Books:

Falk, 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.

Perry, D. K. (2002). Theory and research in mass communication: Contexts and consequences. Mahwah, NJ: Erlbaum.

Peou, C. (2008). Contemporary Cambodian cinema: Gender and generations.

Royle, E., & Ebrary, I. (2012). Modern Britain: A Social History, 1750-2010. (3rd ed.). New York: Bloomsbury Publishing;.

S, J. (1995). Youth culture in late modernity. London: Sage Publications.

Steinberg, S. (2005). Contemporary Youth Culture [2 volumes]: An International Encyclopedia.

Stott, A. M. (2005). Comedy. New York: Routledge.

Watson, C. (2015). Comedy and social science: Towards a methodology of funny. Routledge.

Websites:

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

ATV. (2015). Over 11,300 fans sign campaign for more of The Inbetweeners. Retrieved February 13, 2016, from http://www.atvtoday.co.uk/67336-e4/

Chris Tookey. (2011). A triumph for Britain's yob culture. Retrieved from http://www.dailymail.co.uk/tvshowbiz/reviews/article-2030224/The-Inbetweeners-Movie-A-triumph-Britains-yob-culture.html

Cicurel, D. (2014). The most quotable lines from the 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/

IMDB. (2009). The Inbetweeners Reviews. Retrieved from

http://www.imdb.com/title/tt1220617/?ref_=nv_sr_2

Jeff Wayne's Musical Verson of the War of the Worlds - 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 ... PhoneShop? Retrieved March 21, 2016, from http://www.theguardian.com/tv-and-radio/tvandradioblog/2013/aug/15/watching-phoneshop-e4-comedy-tv

S. F. (2009, July). The Changing Field Of British Comedy. Retrieved from http://www.socialpolicy.ed.ac.uk/__data/assets/pdf_file/0003/55911/WP39SamFriedman.pdf

Situation Comedy Genre. (n.d.). Retrieved December 28, 2015, from http://media.edusites.co.uk/article/situation-comedy-genre/

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. Retrieved from

http://www.shadowlocked.com/201101201315/lists/top-10-inbetweeners-quotes.html

Wikipedia. (n.d.). The Inbetweeners: https://en.wikipedia.org/wiki/The_Inbetweeners

Works consulted:

Academic Books:

Bignell, J. (2002). Media semiotics: An introduction (2nd ed.). Manchester: Manchester University Press :.

Mallan, K. (2003). Youth cultures: Texts, images, and identities. Westport, Conn.: Praeger.

Provenzo, E. (2009). Encyclopedia of the social and cultural foundations of education. Thousand Oaks: Sage Publications.

Weight, 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

Websites:

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 gross. http://www.dailymail.co.uk/tvshowbiz/article-2030234/The-Inbetweeners-movie-Britains-biggest-grossing-comedy-REALLY-gross.html

Wikipedia. (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

[5] ibid

[6] 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

[24] 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

[29] ibid

[30] Renshaw, D. (2013).

[31] ibid

[32] Royle, E., & Ebrary, I. (2012). Pg. 334

[33] ibid

[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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