Creative Project - Aims and Context/ Planning

Style: Experimental

Aims: To simulate what it's like to experience an anxiety attack, making the audience feel uncomfortable. Mental illness is a taboo topic, but mental illness in guys is even more taboo, I want to show that this sort of thing can and does happen to anyone, not just teenage girls.

Influences: Andy Warhol - Portraits

                  Godfrey Reggio - Natural shots and sped up shots of people going about daily life.

                  Stan Brackhage - Use of only colours in the shots.

             

Portraits zooming into the eye. Multiple people, majority male

Calm, natural shots becoming more manic and stormy.

Record busy corridor 3 times, speed it up and lay the shots over each other. Audio: Heavy breathing

Black and red swirling/fading together  starting to speed up to the point where it resembles convulsions. Audio: Static and tense music/ droning

Cut between dark static (FVK Danger video), nails on blackboard, Twisting branches/thorns/vines.

Voices whispering insults that you would think about yourself when you're panicking until it turns into white noise.
Audio out of sync with shots
Tap dripping
Traffic at night

Structure

Portraits in the photography studio, 2 guys and 1 girl??? 

Very quick flash (0.5 secs?) of static

Mid shot calm, blue sky

Mid close-up grass rippling in the wind

Mid shot darker sky, clouds rolling in
Flash of static

Close-up rain-drops falling on the window, slow down footage

Mid close-up rain falling in a puddle, heavy rain

Fade to black from outside of frame to the middle

Heavy breathing

Fade between black and red

Cut clips together/ place each clip on top of each other of people in the corridors sped up

Quick cuts between uncomfortable sounds (Static, nails on blackboard, twisting branches/ vines) Corridors, and red/black.

Audio over the top of quick cuts: heavy breathing, uncomfortable sounds that correspond to clips, and whispers of insults/comments you would hear in your head during an anxiety attack, etc.

Zoom out of eyes, back to the portrait shots. Nothing about them has changed apart from a subtle shift in how comfortable they seem.

Notes
Shots seem really static at the minute, maybe add a few more moving shots with panning and zooming?
Shaky/ jolted shots.

Presentation script

How is Female Empowerment and the representation of women in today's society presented in Marvel Cinematic Universe films?

Speaker: Marvel Cinematic Universe is the franchise known for bringing some of the most popular Marvel Comic books to life. It is, therefore, safe to say that they bring with them the aura of these comic books, and with that, a very cartoon like representation of certain characters. Superhero movies are a large part of Popular Culture, described as being simply “well liked by many people” (Item 6) and are generally seen as Unrealistic and a means to escape, however they can be seen to provide a very accurate commentary on everyday life and in my chosen films specifically, the representation of women, and how 'In Patriarchal structures, woman is located as other' (Item 5), which is shown mostly through the character of Natasha Romanoff (Black Widow), played by Scarlet Johansson, a character who's treatment by Marvel is 'frequently outright lousy' (Item 10).

Projector: Clip of ‘The Avengers’ (2012) Natasha Interrogates the Russians 0:11:23 (3m5s) (Item 2)
    Speaker: This is the first time that we see Natasha in The Avengers, and straight away she is shown in a very weak position, tied to a chair and the use of high angles to show her to be below the men that are stood around her. Here, Natasha appears in a black cocktail dress, showing off a lot of flesh, which essentially is used to satisfy ‘The Male Gaze’. This clip is from the very beginning of the film, which is when the film maker is of course attempting to engage their audience in any way possible so that they will stay for the entirety of the film, however “No amount of advertising will continue to pull people into a film they do not enjoy and cannot speak well of to their friends” (Item 4) and so the film maker must therefore cater towards the target audience, which for Superhero films is more often than not, teenage boys, though their use of Natasha's skimpy costume would ensure that the films would 'reach beyond so-called comic-book geeks.' (Item 13). This is shown throughout the majority of both my clips and the entire films through Natasha’s wardrobe which is more often than not skin tight or there is very little of it. This is because through the eyes of a male, one of the best things that they could see is the curves of a woman’s body. Though this clip does begin by presenting Natasha as ‘weak’, the use of canted angles suggest that there is something not quite right with the situation, a suspicion that is confirmed when Natasha single-handedly fights and overcomes every one of her captures, which presents her in a much more empowered light as she only “plays on the expectation that she's weak” (Item 11) in order to gain power over her enemies. This is furthered in another scene from the same film when she goes to 'interrogate' Loki.

Projector: Clip of ‘The Avengers’ (2012) Natasha speaks to Loki 1:01:00 (2m17s) (Item 2)
    Speaker: This once again shows Natasha using a man’s assumption of her weakness in order to gain power over them as, though in this clip Natasha only shows weakness through her performance, after a montage of the other Avengers, it cuts back to her finding out what Loki’s plan was and that once again her show of weakness was simply an act, all part of her ‘Very specific skill set’. We also see her Black Widow costume in this clip which you can see is extremely form fitting, and the scene is shot from angles that emphasize her breasts and bum even more than the costume does. This film in particular from the ones I have chosen, whilst sexualizing her in order to satisfy the male gaze, does actually empower their main female character, showing that “Women are not helpless in face of existing challenges” (Item 12) However, it does not pass the Bechdel test, a set of criteria which films must meet to be seen as anywhere near to fair in gender representation. The test “requires that a film a) contain at least two named female characters, b) who have a conversation, c) that isn't about a man.” (Item 11), simple criteria, of which, the film meets one aspect. In fact, not a single one of my chosen films that is included on this list passed the test.

Projector: Clip of Avengers: Age Of Ultron (2015) Hulk's Lullaby 0:07:38 (1min) (Item 1)
    Speaker: In this clip from my Focus film, Natasha is shot from eye level, even after assisting the Avengers in infiltrating a Hydra base, up until the point that she performs this lullaby on the Hulk, when she is shot from a very slightly low angle, which shows that the only way Natasha can be seen as having power over a male character is when she is performing a maternal act such as a lullaby. However, shown through the close ups of Natasha's hand, this interaction is still made to look very seductive with Whedon himself saying that “She is working him. She is working me!” (Item 7) Showing that these shots are made very much for the male gaze as they were designed to seduce their audience, 'screen images of women are sexualised no matter what the women are doing' (Item 5), proven further through my own questionnaires given to fellow film students as 50% of people asked were male, and of these 75% saw no problem in how Natasha was represented at any given point in this film (Item 14). Her power is further taken away from her with the fact that at the very beginning of this sequence, she must be on higher ground than the Hulk to even be able to attract his attention, let alone have any leverage over him. Plus, this shot of film, lasting only about 1 second is shot from an extremely slight canted angle, which though usually unnoticeable, is a subtle way of showing that it is unusual for the female character to be in power. This is also shown through the fact that over 80% of MCU target audiences felt that it is unusual to see a female character hold power over their male counterpart in Marvel superhero films. (Item 15)

Projector: Clip of Captain America: The Winter Soldier (2014) Natasha takes control 0:53:40 (50s) (Item 3)
Speaker: In this clip from Captain America: The Winter Soldier, Marvel choose to once again give some sort of power to Natasha whilst simultaneously making it impossible to hold anything over her male counterparts. When faced with the SHIELD agents looking for them, Steve goes for an automatic Military way out, whereas Natasha opts for the less obvious tactic of simply blending in. Throughout the sequence, though she has taken charge of the situation and is giving orders to Steve, she is almost always walking slightly behind him, as though he is in charge, and when on the escalator, Steve is even on the step above her, giving him clear power over her as he is placed on higher ground, emphasised by the fact that Natasha is shot from a high angle whilst Steve is shot from a low angle. This use of simultaneous giving and taking of power from Natasha is also shown on the poster for this film (Item 16). Though Natasha is pictured in a very strong and empowered pose, standing nonchalant whilst still looking tall and strong, she is the only female character on the poster, and in most of the film, and is placed behind two other male characters to emphasise the fact that, yes she may be a badass, but these two male characters are much more badass and of course more important to the story than her. She is also pictured once again in the skin tight Black Widow costume, however Scarlett Johansson herself has said that she does not think that her costume is sexualising her body, but 'totally empowering' (Item 8)

Projector: Clip of Avengers: Age of Ultron (2015) Ultron Attacks 0:29:11 (32s) (Item 1) 
Speaker: This simultaneous giving and taking of power from Natasha seems to be a recurring theme through all of the films that I have looked at. It's once again evident in this clip from Age Of Ultron, where instead of fighting Natasha takes Bruce and runs for cover. This could be seen as either a tactical approach or a weak one, and when asked, the MCU target audience were split completely 50/50 between the options. (Item 15) However considering most of the male Avengers get up to fight straight away, we can assume that this is Marvel's way of showing the audience that Black Widow does in fact have some weaknesses. This scene also begins to introduce a connection between Natasha and Bruce Banner, as she pulls him to safety along with her. This attitude of grabbing others and saving them along with her is what would give Natasha any power at all in this particular sequence, however this power she has gained is once again taken away by the fact that it is simply a device to build up to an unneeded romantic sub plot between these two characters which Scarlett Johansson herself 'didn't really understand or expect' (Item 9), all of which is made worse with the shot of Bruce falling on top of her, his face landing directly in her breasts. Though I'm sure this shot was supposed to hold comedic value, it was instead degenerative and downright dangerous towards Scarlett who was in fact pregnant at the time of filming.

Projector: Clip of Avengers: Age Of Ultron (2015) Natasha and Bruce in the Farmhouse 1:02:50 (3m2s) (Item 1)
 Speaker: This clip is the climax of the relationship that has been building up between these two characters, filmed in a very stereotypical way. It makes use of a lot of shot-reverse-shot of the two of them reacting to the revelations, and it is also one of the few times within the film that Natasha is shot from eye level rather than a high angle, and most of the other occurrences of this happen when she and Bruce are together, showing that Marvel believe the only way Natasha can be on the same level as any of her fellow Avengers, she must be included as a love interest. Furthermore, the sequence begins with a flashback of Natasha being sterilised when she graduated from the 'Red Room'. She then calls herself a monster because she is unable to have children, 'being reduced to her reproductive choices' (Item 10) This shows that clearly Marvel are 'uninterested in the emotional lives of women' (Item 10) as this could be seen as an extremely upsetting or even offensive subject and therefore statement to any women who may watch the film that are unable to conceive. 90% of the film students that were asked said that they could see how this particular scene would cause controversy and that it was unsympathetic towards women that could be watching the film (Item 14)

Through this research, I have found that Marvel Cinematic Universe films do not present Women in a very empowered way and essentially make their films in the best way they can to satisfy the male gaze, using their female characters as romantic plot devices and ways to make their male superheroes seem even more powerful, even when the female character shows some signs of power, it is in order to assist their male counterparts.

How is Female Empowerment and the representation of women in today's society presented in Marvel Cinematic Universe films?

Item 1: Focus Film - The Avengers: Age of Ultron (2015 dir. Joss Whedon)

I have chosen this as my focus film as there are several plot points that will help to back up both sides of my argument. There are many more female characters in this film than previous Marvel films and Black Widow particularly is shown to be very strong whilst in a battle situation, whilst still being extremely sexualised through her costume and being shown as 'weak' through both past trauma and an unneeded storyline. The film is on the borderline of passing and failing the Bechdel test, therefore causing a lot of controversy in the pop culture online communities.

Item 2: Supporting film - The Avengers (2012 dir. Joss Whedon)

I have chosen this film because once again Black Widow is presented as a strong woman, able to use her many talents in investigation and manipulation towards assisting The Avengers in their victory. However, once again her costume is very sexualised and the performances and subtext hint at a past relationship between herself and Clint Barton, which should not be necessary to the story line. Furthermore, apart from the occasional interjection from Agent Hill and Pepper Potts, Black Widow is the only female character in the main narrative, and is the only female Avenger. This film did not pass the Bechdel test, passing only 1 out of the 3 criteria, having more than two named female characters, however there are very few interactions between these characters, if at all.

Item 3: Supporting film - Captain America: The Winter Soldier (2014 dir. Joe and Anthony Russo)

My third film, much like the previous two, shows both sides of my argument through the character of Black Widow, once again showing her to be strong whilst still completely sexualising and romanticising her through her costume and actions. Whilst this film does include a few more female roles, they are mostly minor characters and are therefore not focused on by the film as much as the many male characters. As with The Avengers, this film did not pass the Bechdel test, as though there are multiple named female characters, who do converse with each other, they do not stray from the conversation topic of the male roles in the film.

Item 4: Book - Film as Social Practice (Third edition by Graeme Turner)

Chapter 5, Part 1 - Specifying The Audience

This explains that to bring in audiences, film makers and advertisers must make decisions to appeal to their target audiences. This is relevant to this project as it can give some insight into the reasons why Marvel present their female characters in certain, more sexualised ways, which I can link to the Male Gaze theory, so it is therefore a very useful source. This is therefore a very useful source to use in my argument.

Item 5: Book - The Film Theory Reader (Debates and Arguments edited by Marc Furstenau) (Theorists - Laura Mulvey and E. Ann Kaplan)

This book includes sections that explain what the male gaze theory is and discusses the reasons why writers and directors may present certain characters in order to manipulate or satisfy their male target audiences . I will use this for key quotes to back up my arguments, making it a very useful source.

Item 6: Book - Cultural Theory and Popular Culture: An Introduction (John Storey)

This book gives in depth definitions of Pop Culture and Ideology which will provide me with a basis to build my argument on as it provides the intellectual information on which I can build, linking it to my chosen films and the aspects of Pop Culture that Marvel is associated with.

Item 7: Interview - Joss Whedon for Rolling Stones magazine about The Avengers: Age Of Ultron 

http://www.rollingstone.com/movies/features/secrets-of-avengers-age-of-ultron-joss-whedon-tells-all-20150422?page=5\
In this interview, Whedon discusses the romantic sub-plot between Bruce Banner and Natasha Romanoff (Black Widow) and whether or not it was needed. They also discuss how some of the scenes in the film affected not only Whedon, with him saying that Black Widow's flirtatious actions sometimes had even him seduced, but the majorly male audiences, which can be linked back to the male gaze.

Item 8: Interview - Scarlett Johansson on her Stunts and Costume

http://www.babble.com/disney/captain-america-scarlett-johansson-on-the-black-widow-stunts-and-that-tight-costume/

Johansson discusses how she feels about the Black Widow costume herself and how she felt when doing her stunts. This source will be very useful in the other side of my argument, as she personally feels that it is, in fact, not overly sexualised. I can pick out some good quotes to argue that the costume is empowering rather than a pure sexualisation.

Item 9: Article - boringboring.net discussing a Scarlett Johansson interview

http://boingboing.net/2015/05/06/scarlett-johansson-maybe-hated.html

Though in general, this source is not particularly strong, it does include quite a few quotes that I can use in my argument about how Scarlett Johansson herself feels her character was treated in the film and whether the romantic sub-plot was needed for the film to be a complete piece of cinema.

Item 10: Article - A guide to the growing controversy over Joss Whedon’s Avengers and Marvel’s gender problem

http://www.vox.com/2015/5/11/8582081/avengers-age-of-ultron-joss-whedon

This article discusses how many people feel that Marvel have treated their female characters and the effect that this has had on their fan base. It is a very good source as it includes lots of points that will assist in building up my argument and I can quote many parts of it as evidence.

Item 11: Article - Which Marvel Movies Pass The Bechdel Test

http://www.digitalspy.co.uk/movies/feature/a584511/which-marvel-movies-pass-the-bechdel-test.html#~prK6Gt5FLfStzu

This article discusses the fact that a distinct lack of Marvel's films pass the Bechdel test, something that only has three criteria points and should not be difficult to pass. A film should have two or more named female characters, these characters must have a conversation at some point in the film and, this conversation cannot be about a man. The article shows that my two chosen focus films do not pass this test in certain elements, and therefore cannot be seen as presenting women in an empowered light.

Item 12: Article - What does it mean to empower Women?

http://www.cipe.org/blog/2011/03/07/what-does-it-mean-to-empower-women/#.VikanTZdHIU
This article discusses what female empowerment actually means by comparing the different ways that women can be empowered such as political or economic power and explaining how these things are not mutually exclusive, that the combination of equality or even simply more power than women currently have in these areas is what makes female empowerment, and how it affects the society that we live in. This is a very useful source for quotes that can both back up and become a critical basis for my argument.

Item 13: Article - The Marvel Intertextual Universe

Media Magazine (Issue 54 December 2015)

This article is about the history of MCU films and how they link to each other making it mostly irrelevant to my topic, however I can use it for context about my chosen films, as well as being useful for quotes about the general target market for Marvel Cinematic Universe films.

Item 14: Primary Research - Questionnaires of Film Students after watching focus film - The Avengers: Age of Ultron

After reading the answers, I found some very interesting correlations between gender of the spectator and their opinions as to how the female characters in the film were presented. Most of the female students that were asked said that they felt female characters were presented badly, whereas male students did not see any particular problems with the female representation, which I can use as proof of the Male Gaze theory.

Item 15: Primary Research - Interviews with the target audience of MCU Films

This research proved to be very interesting, as the target audience of superhero films is generally a very male dominated group. However, contrasting with the questionnaires of film students, almost all of the selected group of people, made up of male teenagers, agreed that Marvel does not present female characters enough in a way that empowers them and simply uses them to attract the male audience that otherwise would not be interested in a Superhero film.

Item 16: Picture - 'Captain America: The Winter Soldier' film poster

This is the film poster for my supporting film and it clearly displays the ways in which Black Widow is sexualised. She is the only female character shown on the poster and is pictured in her extremely sexualised, skin tight costume, behind two extremely empowered male characters. I will use this item as further visual evidence to back up how Black Widow is sexualised, not only in my focus films, but in the advertisement for them as well.

Rejected Items

Film - Captain America: The First Avenger

Though this film does include a very strong Female character in the form of Peggy Carter, and could be used to back up the fact that Marvel do in fact give Female characters power, it is set in the 1930/40's and therefore does not give an effective view of women in modern society.

Interview - Scarlett Johansson and Mark Ruffalo with Cosmopolitan

https://www.youtube.com/watch?t=371&v=T9sEkdJrIRM
This interview swaps the questions that each actor would be expected to have and therefore comments on how Scarlett is treated by the media as an actor rather than how Natasha is treated by Marvel as a character.

Article: Entertainment Weekly - The Black Widow Conundrum

http://www.ew.com/article/2015/04/29/entertainment-geekly-black-widow-conundrum

Though this article does discuss the treatment of Black Widow by the MCU franchise, it does not articulate it in a way that I could use to build an argument in the way that the vox.com article does, and would therefore make my work sound less developed. It focuses only on a single issue and does not present a particularly strong argument.

Website: bechdeltest.com

This website has a large list of films, discussing whether or not they pass the Bechdel test, however they are decided by fans of the films and anyone may comment making changes, rather than being assessed by experts and film critics, meaning that it is not a very reliable source for my argument and I could easily find a critic assessed bechdel test for my chosen films.

What is the importance of mine-en-scene and/or sound in creating meaning and generating response in 'City of God'?

When the Tender Trio and Li'l Dice are sitting around before the motel hold-up, they are shown firstly as part of the background through wires and the bars of cages in the foreground of the shot. This suggests that even though they have power inside the Favelas, they are trapped there and are unable to leave due to their social situation and are left with no power in the real world outside of their ‘hood’ nature. When the group come into focus, they are sitting on a large pile of bricks. These bricks would have been used to make new parts of the favela as each one usually held around 30,000 people. This use of mise-en-scene shows that the attitudes of these young people, especially Li’l Dice, would become the building blocks to the society that the Brazilian people would come to know and would therefore be passed on through generations. Furthermore, Li’l Dice is sat higher up on the bricks than the members of the Tender Trio, placing him in the more dominant position in the group and therefore giving him power over them. This mise-en-scene creates a very unusual situation inside the Favelas as the younger children were often given very low ranking roles in hood plans and drug deals, allowing room to move up the hierarchy as they grew older. Therefore, this use of mise-en-scene could be seen as foreshadowing the fact that Li’l Dice moves on to take the Tender Trio’s place as the leader and most dangerous person in the City of God. Whilst they are talking to each other, Li’l Dice picks up a gun that one of the tender trio has left on the bricks and points it at Goose’s head before they knock it out of his hands. This mise-en-scene of Li’l Dice being so eager to pick up a gun shows the culture that they live in, as in the Favelas people who are involved with the drug trade have a life expectancy of 14 to 25 years with many young people carrying guns round themselves. This could also be used to foreshadow the fact that Li’l Dice ends up shooting Goose when he tries to escape the Favela with some of the money that Li’l Dice earned from the motel heist, further proving both that Li’l Dice becomes the most dangerous criminal in the City of God and that it is impossible to leave the Favelas.

After the robbery at the motel, Shaggy to Maracena and Bernice’s house to seek shelter from the police. When he is explaining the situation to Maracena, Bernice enters and lights a candle giving the following shots a soft amber glow, which makes them seem almost dreamlike, as in the Favelas and any Urban Stories it is very difficult to form and maintain romantic alliances, making any chances that they may be presented with seem like a far off dream rather than reality. This is followed by shot reverse shot of Bernice and Shaggy sharing stares accompanied by very slow, romantic non-diegetic music. This combination of performance mise-en-scene, sound and editing is very suggestive of a romantic connection between these two characters. However, when Maracena begins talking to Shaggy again, the music stops abruptly, thus breaking the connection between Shaggy and Bernice. This use of sound clearly shows that Maracena has broken Shaggy away from his dream state and has brought him back to the situation he is in, due to his lifestyle as a ‘hood’, back to the reality of living in the Favelas and the trouble that causes for them all. This further shows the difficulty of forming romantic alliances in the situations of Urban stories as there is always something standing in the way, in this case the obstacle being Bernice’s mother and Shaggy’s ‘hood’ nature.

What is the importance of Mise-en-scene and sound in creating meaning and generating response in La Haine

The first time that we see the character of Vinz, he is in a dream in which he is dancing to very stereotypically Jewish music in a very comical way that is once again seen as a very stereotypically Jewish style. This use of non-diegetic sound and performance mise-en-scene clearly shows Vinz’s Jewish heritage which, as the audience have just been introduced to Said, shows the wide range of nationalities and ethnicities of the people who live in the projects. Though this scene is a dream, it is set in a very dirty environment. In the background whilst Vinz dances, the walls are covered in graffiti and there are wooden pallets laying around. This use of mise-en-scene shows the fact that even when he dreams, Vinz is unable to escape from the environment he lives in due to his social situation.

When Vinz is woken up, the non-diegetic sound of the ‘Jewish’ music can still be heard, though on a lower volume. This use of sound represents the fact that, though in his waking hours Vinz is still Jewish, he has to be much more low-key about that fact, however in his dreams, he can be much more open about his Jewish heritage. Furthermore, with the use of a 360 degree camera pan, we are able to see the contents of his bedroom, which he shares with his sister, showing the poverty within the projects, as they do not have enough bedrooms for the entire family. Vinz’s room is completely filled with brands that the audience would not expect to see in a French environment, such as Adidas and Nike trainers, and he is wearing a t-shirt of American superhero ‘Spiderman’. The walls are also covered in posters of American boxers and Marilyn Monroe, and the bedroom door has a poster of Bruce Lee who is very prominent in American culture. This use of mise-en-scene emphasises the Westernisation that was happening at the time and is still happening today, pushing out the traditional cultures of these countries. This scene may cause confusion in the audience as they would not expect to see this in a French environment, the scene looks as though it should be set in America. There is also a lack of anything educational on Vinz’s side of the room, with the very few books he owns serving no purpose other than to hide his drugs. This illustrates the fact that the men in the projects are very often uneducated, therefore giving them no hope of moving away from their social circumstances.

Later in the film, Hubert and Vinz go to the police station to wait for Said to be released. Hubert begins rubbing his neck which illustrates that he is clearly uncomfortable being in close proximity to the police officers, whereas Vinz’s gaze is never still and he is constantly moving around, which shows that he is, less uncomfortable, but more uneasy and untrusting of them. One police officer stares at Vinz as he walks past, showing that the police are constantly suspicious of the youths. This suspicion between the police and the youths, illustrated through the mise-en-scene of their performance, creates a very tense atmosphere that causes the audience to become very uncomfortable. Through a 180 degree pan, the Police station is shown to be very run down and covered in graffiti, which shows the audience that the police are not immune from the destruction of the riots, and are in a very similar situation. Furthermore, the Police Officers are shown to be smoking and simply hanging around, very similarly to the actions of the youths that they are in conflict with. This mise-en-scene also shows that the police are of as wide a variety of ethnicities as the rioters and the residents of the projects, which shows that the conflict that triggered the riots was not based upon race, as they would be far less likely to shoot a young man simply because of his ethnicity if they were employed alongside a man of the same ethnicity, and was most likely a very misunderstood situation. This links to a quote by a French poet and Philosopher ‘Charles Baudelaire’, a picture of whom is shown at the end of the film in the projects, who said that ‘The world only goes round on misunderstanding’. This links not only to the ethnicity of the police officers, but also suggests that whilst there is misunderstanding between these groups, the conflict between them will constantly go round in circles with no end.