Spooks Opening Analysis

Discuss the representation of the terrorists and the couple in the extract from spooks.

Spooks is a BAFTA award winning crime/political/espionage drama series set primarily in London detailing and following a group of MI5 agents as they work, often with interesting story lines and extravagant action. In the following paragraphs I will analyse different techniques employed by the director to represent binary oppositions, in the form of two different couples; a married couple, (who also happen to be MI5 agents) and two terrorists conspiring against the government.
Interestingly the way the extract is shot can influence the way in which the audience perceives characters, making cameras one of the most important factors contributing to the authenticity of the opening, dependent on the angle and coordination with the mise en scene of the shot feelings and emotions are provoked from the viewers creating a sense of attachment towards the main protagonists and contempt for the scenes antagonists, as illustrated at the very beginning when the camera approaches the terrorists car, at a low angle, intentionally showing the terrorists possession of power by making the car seem bigger and more menacing, immediately establishing that the person who owns and is seated within the car has fallacious intents and as the camera sweeps past a non diegetic zooming sound is heard, which adds tension and hints to the audience that something is not right. Alternatively and contrastingly, the two who we as the audience presume to be the protagonists, leave their house and are filmed in slow motion, walking relatively confidently from yet again, a low angle, however, this functions differently to our ‘heros’ as it presents them with an aura of power and benevolence which differentiates to the evil exuding from the terrorists. Whilst the terrorists are positioned within the car the camera cuts to a shot of the male antagonist inspecting something, it is then cut to an eye line match shot in which we discover that he is watching the couple leave their house, by exploiting the right wing mirror, this acquaints the terrorists with the idea of hunting, showing the terrorist as a predator, stalking and silently observing.
Similarly sound is also a key determinant in producing an efficacious drama, by manipulating feelings a director can almost control the audience’s senses and lead them to answer their own questions simply by managing sounds correctly. We are immediately plunged into the sequence by incredibly suspenseful somewhat eery music, building audience tension levels, gaining their interest becoming fixated on the screen. During this piece there is a shot of a young girl skipping which is completely different to the music and does in no way fit the soundtrack, completely contrasting and opposing ordinary dramatic structure. Songs are also used to demonstrate the mood of the scene, this is established in the kitchen when we as the audience are both shown the protagonist couple, and their relationship when an RnB love song is played over the radio which personifies the characters to become relatable, presenting them in a normal environment that is familiar to all of us experiencing a feeling of love, that is familiar to all of us. However this is also somewhat discomforting for the audience as what is supposed to be a private moment for the couple is actually being intruded upon by terrorists, overhearing via a bug in the couples home.
Definitively, I would personally place Mise en Scene as the singular most important device used to create a successful dramatic piece it involves perfecting lighting and props to authenticate and make a simple set ‘real’ to the viewer. For instance, the antagonists car is huge, black and frightening which is in keeping with the terrorists ill intentions forged against the government and MI5 whereas opposed to this the protagonist couple are shown getting in to a bright silver vehicle which the audience immediately associates a bright colour with ‘good’ and purity, deriving further that these two are the heros of the scene. Reverting to a previously made point, the skipping girl that we are shown in the opening seconds is positioned adjacent to the antagonists car, cleverly contrasting the innocence of the young girl playing with the maliciousness and murderousness of the terrorists positioned just feet away, shocks the audience and creates an uneasy discomfort that potential terrorists could be that close to any of us, raising the familiar issue of modern terrorism that has become a part of audiences everyday lives through media coverage. Correspondently, whilst the terrorists are sat in the car the director half lights them disfiguring their faces, acting as a disguise by creating a sense of mystery surrounding them by making their visage increasingly menacing. As the lighting within the car is very dark, when the shot cuts to the kitchen the vibrance and change in colour is shocking, as it is relatively bright, perhaps reflecting our protagonist character’s good intentions. Both couples act as binary opposites throughout the scene, this can be seen through interaction, as seen whilst in the black car, the antagonists relationship is incredibly professional and reasonably uncomfortable, whereas the heroes interaction is natural and spontanious relaxing the audience’s tension. A further example of binary opposition is introduced through the characters apparel, The terrorists are dressed in dark colours once again reflecting their cruel, ruthless attitude, whereas on the other hand, in the kitchen both protagonists are dressed smartly and most importantly brightly emphasising the fact that these are indeed the ‘good’ guys.
Editing is one of the final stages of production and will often make or break a piece although this is a short extract, it will still have been scrutinized by editors to perfect. Subtitles are used when the obvious middle eastern terrorists begin to speak in arabic, these subtitles are bright white, to contrast against the dark interior of the car and to maximize audience clarity as to not confuse or repel potential viewers. Negative is used very briefly at the end of the scene while focused on the male terrorist to perhaps shock the viewer. I believe it also emphasises that it is a modern drama and negative suggests hi-tech.
Intriguingly, the extract is not completely bias towards the protagonists, the terrorists interestingly manipulate the feelings of the audience by saying “They’ve destroyed our world” perhaps even producing guilt within the audience, contemplating that they may have misjudged the antagonists after all.
To concatenate my thoughts and findings I believe this extract is successful in grabbing the attention of an audience and retaining it throughout. It presents key modern issues such as terrorism and its ruthless desire for vengeance no matter what the cost, and presents stereotypes associated with terrorism such as the middle east, and an arabic speaking couple dressed darkly as to maximize suspicion, it emphasises cultural differences between the urbanised west and the undeveloped nightmare that is ongoing in the middle east. However it leads audiences to question what is ‘acceptable’ and ‘necessary’ to keep our own country safe, and whether what we’re doing is not dissimilar to what the antagonists portreyed are doing.