British Film Trainspotting and This is England – Answer
How useful has an ideological critical approach been in analysing the films you have
studied?
In terms of an ideological critical approach, the structuralist technique of binary opposites is
used to depict the films’ ideological messages. Binary opposites are techniques created by
Strauss; they are opposites but need each other to define their meaning. In Boyle’s
‘Trainspotting’ (1996), binary opposites are used to approach and reflect on the messages
and values of individuality and conformity within society, which is done through the main
protagonist Renton and his difference in attitudes between his friends. In Meadows’ ‘This is
England’ (2006), binary opposites are used to show the ideological differences between the
two groups of skinheads and their influence on impressionable individuals, this is evident
through the main character Shaun and his attitudes towards protagonist Woody and
antagonist Combo.
In the opening of Trainspotting, Renton’s differences are immediately established in the
opening sequence when the low-angle arc shot denotes that he is segregated from the rest
of his friends. With him being separated, it indicates that the protagonist is labelled as ‘safer’
compared to the others, which is why we’re subjected to mostly his version of events
throughout the film through his internal diegesis, as he is the character who is intelligent
enough to grapple with moral dilemmas and the consequences of his actions and to whether
he wants to live that ‘normal’ life or conform to the heroin subculture. Additionally, Renton’s
moral dilemma is metaphorically shown through the pan of the two rooms in the apartment;
one where the baby is with green being the prominent colour: symbolising innocence and
sobriety, or one full of addicts with red, connoting the imperilment and addictiveness of drug
use.
Renton is usually seen in direct binary opposite to his friends, Boyle has constructed him in
this way to almost foreshadow to the spectators his change in ideology towards the end of
the film. For example, Renton has the fortitude to keep on trying to quit heroin, making him a
direct binary opposite to his friend Sick Boy. In the opening apartment scene, we are
introduced to a low-angle shot of Renton smoking on the floor as if the camera is ‘crawling’
around him, which could mirror the point of view of the baby, symbolising the eyes of
innocence whilst looking at the drug taking, assuming it is also from the perspective of the
audience. Renton then states his wishes to quit heroin by using the “Sick Boy method,” to
which Mother Superior sarcastically replies, whilst the close-up of the drug-induced Sick Boy
is shown, “that it worked for him.” Renton replies that “he has always been lacking in moral
fibre.” Sick Boy is represented as someone who lacks morality and fortitude because he will
not quit heroin of his own accord and cons his friends. Upon the death of his daughter due to
negligence, Sick Boy becomes unsympathetic and delusional as a character. Renton is
portrayed in opposition because, despite also being a disenfranchised nihilist, he is
sympathetic and presented as a strong character.
Another key sequence when the binary opposites are reinforced is the closing sequence.
Renton starts as an individualist as his self-destructive behaviour runs counter to him and
what is expected of him in society. However, he decides to choose life by the end of the film.
As Mark is leaving, the camera pans over to his friend on the floor and focuses on Spud
once we realise, he is awake the shot reverse shot between Renton and Spud reveals
disapproval from Spud as he shakes his head, but there is also a mutual connection
How useful has an ideological critical approach been in analysing the films you have
studied?
In terms of an ideological critical approach, the structuralist technique of binary opposites is
used to depict the films’ ideological messages. Binary opposites are techniques created by
Strauss; they are opposites but need each other to define their meaning. In Boyle’s
‘Trainspotting’ (1996), binary opposites are used to approach and reflect on the messages
and values of individuality and conformity within society, which is done through the main
protagonist Renton and his difference in attitudes between his friends. In Meadows’ ‘This is
England’ (2006), binary opposites are used to show the ideological differences between the
two groups of skinheads and their influence on impressionable individuals, this is evident
through the main character Shaun and his attitudes towards protagonist Woody and
antagonist Combo.
In the opening of Trainspotting, Renton’s differences are immediately established in the
opening sequence when the low-angle arc shot denotes that he is segregated from the rest
of his friends. With him being separated, it indicates that the protagonist is labelled as ‘safer’
compared to the others, which is why we’re subjected to mostly his version of events
throughout the film through his internal diegesis, as he is the character who is intelligent
enough to grapple with moral dilemmas and the consequences of his actions and to whether
he wants to live that ‘normal’ life or conform to the heroin subculture. Additionally, Renton’s
moral dilemma is metaphorically shown through the pan of the two rooms in the apartment;
one where the baby is with green being the prominent colour: symbolising innocence and
sobriety, or one full of addicts with red, connoting the imperilment and addictiveness of drug
use.
Renton is usually seen in direct binary opposite to his friends, Boyle has constructed him in
this way to almost foreshadow to the spectators his change in ideology towards the end of
the film. For example, Renton has the fortitude to keep on trying to quit heroin, making him a
direct binary opposite to his friend Sick Boy. In the opening apartment scene, we are
introduced to a low-angle shot of Renton smoking on the floor as if the camera is ‘crawling’
around him, which could mirror the point of view of the baby, symbolising the eyes of
innocence whilst looking at the drug taking, assuming it is also from the perspective of the
audience. Renton then states his wishes to quit heroin by using the “Sick Boy method,” to
which Mother Superior sarcastically replies, whilst the close-up of the drug-induced Sick Boy
is shown, “that it worked for him.” Renton replies that “he has always been lacking in moral
fibre.” Sick Boy is represented as someone who lacks morality and fortitude because he will
not quit heroin of his own accord and cons his friends. Upon the death of his daughter due to
negligence, Sick Boy becomes unsympathetic and delusional as a character. Renton is
portrayed in opposition because, despite also being a disenfranchised nihilist, he is
sympathetic and presented as a strong character.
Another key sequence when the binary opposites are reinforced is the closing sequence.
Renton starts as an individualist as his self-destructive behaviour runs counter to him and
what is expected of him in society. However, he decides to choose life by the end of the film.
As Mark is leaving, the camera pans over to his friend on the floor and focuses on Spud
once we realise, he is awake the shot reverse shot between Renton and Spud reveals
disapproval from Spud as he shakes his head, but there is also a mutual connection
