Please enable JavaScript.
Coggle requires JavaScript to display documents.
dream - Coggle Diagram
dream
theorists
gauntlett = dizzee doesn't shy away from past representations, but instead takes ownership to empower them, giving a representation of black identity that is progressive, empowered & full of hope
gilroy
- binary of 2 worlds is used to elevate black youth culture & criticise m/c judgement
- therefore, gilroy's notion is challenged as discourse is not colonial but instead a discourse constructed by black identity
- "you can go far if you put your mind to it" & "you'll find the way you are, just do what you feel" shows owning own identity & fighting system
todorov
- equilibrium = prejudice against black youths, highlighting white m/c judgement & also white privilege
- disequilibrium = his music career (frees himself, empowerment)
- new equilibrium = gets back into box either on his own terms, or possibly continued repression as he's only accepted when he becomes mainstream
barthes
- red hoodie & graffiti = repeated reps have constructed them to be a symbol of rebellion
- policeman = symbol of trust & respect
- dizzee has taken these naturalised meanings & changed them, exposing the prejudice that exists in the audience
hall
- dizzee has agency, so is self-stereotyping to criticise the prejudice that led to those stereotypes in the first place
- he creates a sense of otherness but around the white woman, as he has the power & agency
levi-strauss
- freedom (music allows for this) vs repression (controlled by puppets)
- black (dizzee & other black youths) vs white (white woman & police)
context
-
dream was released as a single in 2004, taken from dizzee rascal’s second album showtime
dream samples lines from happy talk, a single that was released in 1982 by captain sensible - could create a sense of nostalgia and pleasure for viewers who recognise this
references muffin the mule, a 1950s children's tv programme presented by annette mills - this reference creates an innocent, child-like backdrop & contrasts with the contemporary issues depicted
post-war period in britain = many people from the caribbean, india and pakistan moved to britain to work & british society was becoming more ethnically diverse as a result of this period of immigration
bluewater shopping centre banned hoodies in 2005
- received widespread media coverage
- have been worn by hip-hop artists since the 1980s & have become associated with rebellion & antisocial behaviour
analysis
reps of police
intertextual reference to 'punch & judy' with the violence between the puppets, acting as a criticism of white policing of black youth culture in 80s/90s - mocks police & breaks down inequalities of power
police as hypocrites - dizzee says "i was everywhere" so becomes mainstream, but also police go from being excluded behind window to dancing along with black youths wanting to be part of that culture as soon as it becomes mainstream
police go from critical to hypocritical
- critical = mid shot of puppets shows police brutality towards black youth as white police officer attacks black youth
- hypocritical = long shot of white police officer & youths dancing with black youths - integration & acceptance
-
-
general analysis
-
the period setting of the sitting room is
established through the mise-en-scène of the striped wallpaper, floral curtains and grand piano, connoting a middle-class environment that contrasts dramatically with the contemporary setting of the narrative
the stereotypically socially deprived, inner-city environment is constructed through the set and props on the piano (eg off licence building with letters missing, graffiti)
props that reference childhood include the pastel coloured building blocks, the toy-like vehicles & the puppets - this iconography establishes a sense that the video is a fable with a clear moral message
dizzee using a microphone symbolises power, as his voice can now be heard & signifies a move away from rebellion & deprivation