1Paige EdwardsHow are teenage antagonists represented in Kidulthood (2006) and Paper Towns (2015)?In this essay, I will be analysing using micro-elements, the ways in which teenage protagonists Margo and Sam are represented in my two case studies of films, Kidulthood and Paper Towns.Kidulthood (2006), BBFC certificate 15, is a British teen drama, directed by Menhaj Huda and written by Noel Clarke for a mass audience. The films main stars are Aml Ameen Trife, Red Madrell Alisa, and Noel Clarke Sam. This film is a day in the life of a group of troubled 15 year olds growing up in West London, in a deprived neighbourhood. Striving for a better life, surrounded by violence and crime.This film supports Levi Strauss theory of binary oppositions, old VS young and good VS bad. This is supported in the narrative when Trife and his companions, are represented as helpless as they come across Sam and his gang. Sam physically hurts, steals from, and intimidates the teenagers younger than him, this is evidence to suggest, that Sam is represented as dominant and superior. However, this changes when the audience are able to identify the revenge scene, where the tables are turned and Trife and his companions take back whats theirs and giving Sam a taste of his own medicine. This can be argued that Trife and his companions are sinking down to Sams level. In the opening sequence of Kidulthood, the audience are introduced to Sam, the antagonist within a wide shot, along with his gang. This shows the audience the importance of Sam and his gang as they are the first to be introduced and given diegetic dialogue as a group. The camera pans to show the audience the rest of the playground along with less important pupils. We know this because, none of them are given any dialogue and we only get to see them briefly in the background. This represents them as inferior to Sam and his group within the scene. Especially the young girl who Sam picks on, Katie; as she is represented as the weaker link and an easy target for gangs. This fits her into the stereotype of being a young white weak female. This can also be considered as a countertype, as someone of her race isnt usually seen as inferior against a character of another race, e.g black, asian.The setting of an urban neighbourhood in this opening scene, and a state school, along with the students costume and the behaviour they prevail upon, reflects that the characters are in a low/working class society. This is shown to the audience through the mise-en-scene; firstly due to the costume the director chooses to make them wear. Ties, loose and half way down their neck, un-tucked shirts along with their hooded jumpers, short skirts and excessive jewellery, shows the audience that this is how young teenagers are stereotyped to be in todays society, scruffy, careless and unkept. Sams use of violent language towards Katie, again represents him as being aggressive, along with other young teenage boys in todays society. Their informal use of language (slang) within their dialogue is also what presents them to be this way. For example, the dialogue used when Sam says blud, is also an indication of how young teenagers are stereotyped to speak in society today. In the beginning scene, Sam is instantly shown to the audience as being the main antagonist in the film. This is shown through the mise-en-scene such as costume, his positioning in the scene and the way that Sam speaks to people. For example, the way he aggressively screws his face as he looks for his girlfriend Claire, creating a negative atmosphere for anyone he approaches. Also, a wide shot is used to show Sams character positioning in this scene. He is placed in the centre of the frame, which shows the audience his role of being the leader, as well as emphasising his dominance. There is a non-diegetic use of score music when Sam is introduced, it becomes deeper and sounding more dangerous. This is used to indicate that Sam is a fearless character with bad traits. The non-diegetic score music is played along with the diegetic dialogue to build up the tension and wonder what his next move will be. The non-diegetic soundtrack of urban music creates a tense, mysterious atmosphere which adds to the drama of the scene. It is not too loud so it does not affect the action in the shots. The urban music represents the film as gritty and the people as thuggish and underclass which is how most characters are represented in this type of film genre. There is also the ambient diegetic sound of the children, in the playground such as laughing and screaming in the background. This gets the viewer ready for the start of the scene.Sam as a teenage antagonist, is represented as aggressive and demanding as he approaches two girls, as if he was about to cause them harm. This, in the opening scene is shown in a wide shot, so the audience can see what Sam and his gang are doing, as well as the two girls they are with. It allows the audience to identify all of their actions, such as when Sam spits on Katie as well as their reactions in this scene. The representation of Sam is therefore stereotyped to be a typical teen; young black boy, wearing a hooded jumper, harassing and threatening two young women. These representations relate to young boys that may have had a bad upbringing and feel as if they have to be aggressive or cause pain or distress to others around them to maintain a type of reputation within the neighbourhood they live in, or school they attend. This almost makes the audience sympathise the antagonist as we realise he is only a young boy, but is living around violation and abuse.The appearance and attitude of Sam within this film, shows the audience that this antagonist is certainly not friendly nor innocent, as the audience see a wide shot of Sam and his gang, surrounded by a gang of young teenage girls, as the use of diegetic dialogue represents Sam as pressurising and dominant and the white female as scared and inferior, as she uncertainly agrees to his demand of hurting Katie. Yeah, watch Im gonna mash her up. This is shown in a shot-reverse-shot, between the Sam and the girl from the gang, and Katie and her friend. This also represents the fear and intimidation the antagonist Sams presence can bring to the other characters, showing the audience the panic and frustration in the faces of Katie and the girl he pressurised to cause her harm. This reminds the audience that his role as the main antagonist is an important part in the film.This scene of aggression and conflict, again links to Levi Strauss theory of binary oppositions. Man VS woman and black VS white. This represents Sam as being dominant and masculine, which conforms to the stereotype of men. A medium close up shot is used, just after he forcefully approaches Trife, with his gang, where the conflict between both sides occurs, showing his importance as he was the first out of the two for his emotions to be noticed up close. A medium close up is again used showing Trifes screwed face, looking angry and defeated to present his emotions as the victim. Sam is shown in a high angled shot after him and his gang beat Trife to the ground, indicating his power and superiority. This again, conforms to the stereotype of young teenage boys who are represented as violent and angry. This can be seen as pressurising towards young boys in todays society to also be this way.The teenagers within the film wear costumes that consist of hooded jumpers, worn by the young boys in order to not be seen by people or be caught by anyone they may have conflict or be in any trouble with. Also the bandana across the brother of Katies face is worn in the ending scene where he comes to find Sam, as he is the one who rotationally caused his sisters death. This suggests that the characters are often in trouble, and know what to do to prevent being seen, hiding themselves and their identity. In this scene, the audience can see a clear change in Katies brother as he is firstly represented as emotional and angry, then as considerate, as he calmed down and came to his senses. This is due to injured Trifes diegetic dialogue, telling him that hes not worth it. Pulling his bandana down for the first time in a close up shot, allows him to reveal his identity to the audience. The camera pulls focus so that the characters are unnoticed in the background, so we can concentrate on Katies brother, showing his power over Sam as he lays on the ground. This also shows the audience that he is leading the main subject, as Sams inferiority is emphasised.The second film, Paper Towns, was released in (2015), with a BBFC certification of PG. It is an American teen drama. This film was directed by Jake Schreier and was written by John Green and Scott Neustadter. It mainly stars Nat Wolff Quentin, Cara Delevinge Margo and Austin Abrams Ben. This film follows the theory of Todorov as the narrative follows the idea about a young girl named Margo, and a young boy named Ben, who both grew up in the same neighbourhood, side by side, loving each others company as kids. As they then grew apart and the older they got, this all changed, as Margo had a boyfriend and hadnt made any contact with Ben, this being their disruption of their equilibrium, Ben had learnt to forget her. However, following the discovery of Margo once again climbing through Bens window asking for a favour, they both took a road trip together, beginning an adventurous and mysterious journey together as this is named being their new equilibrium. Paper Towns, Margo is considered the antagonist within the film. This is due to being in the centre of the conflict and situations. She is represented as mysterious and adventurous otherwise known as Paper Girl, strongly contrasting from the character of Sam. The audience can identify in this in the opening scene where she and Quentin share a moment as he looks into her eyes hoping for some positive attention. The use of non-diegetic score music referring to a genre of hip hop, of which teenagers are stereotyped to listen to in todays society, introduces Margo. This shows her importance, as she is the first character to be introduced with a close up along with the background music. The voiceover Quentin uses as he notices Margo and the moment I saw her, I was hopelessly, madly, in love shows that Margo is the antagonist also, due to the way she looks away after realising his passionate looks in her direction. Also, the use of a low angle shot, allows the audience to focus on Quentins facial expressions, and his inferiority as he sees Margo for the first time. Quentin shows his concern for Margo as they come across a dead body and she seemed massively fascinated, this is shown through diegetic dialogue when Margo arrives at Quentins window, telling him that she wants to investigate further. Lets Go, which represents Margo as eager; to proceed on another adventure. However, Quentin refuses as he is worried about getting into trouble. This represents Margo as being superior in this scene, as she is the one calling the shots; however, Quentin is represented as weak in this scene, as well as being afraid, allowing the audience to recognise his inferiority. The idea of gender representation in the film Paper Towns is a countertype against a womans stereotype to be less able to handle or protect themselves. The audience can identify this throughMargos character; she seems to know what she is doing and how to do it. However, the stereotype of men, to be strong and superior, is contrasted in this film as Quentins character is often afraid of a lot of consequences and backs down. Margo on the other hand seems to not care and takes control of the situation her adventure. A wide shot is used as we see Margo climb down from Quentins window, with Quentin watching as she sets off to continue her investigation. This emphasises the theory of Strausss binary oppositions, as Margo, being the woman is represented as adventurous, strong and unafraid. Then Quentin, being the complete opposite is represented as weak, inspirited and most definitely afraid. The audience can also see Quentins shocked facial expressions in a close up shot, as well as an over the shoulder shot, to show their conversation as well as showing how she has made him felt before she went, almost as if she purposely left behind guilt, again showing her power and superiority, as Quentin allows her to make him feel this way.The low-key lighting in this scene has been deliberately edited with darker tones, to fit the night scene; black, navy and grey like tones are used to set and compliment the mood and to reflect on the mindset of Margo in this scene. As she tries to influence Quentin to do something that would get them both in trouble. It also reflects on Quentins fear, again representing Margo as the antagonist, as she can deliberately make Quentin feel this way.In the final scene, Jake Schreier directs Margo, so that she is represented as being the clear antagonist, he makes it evident that this is what she is meant to be seen as. This is to emphasise her importance within the film as well as linking to how young teenagers are stereotyped to be in todays society isolated and angry, just like Margo is as she runs away, carrying her anger and frustration from a previous situation involving her boyfriend with her. When Quentin finds Margo, she is furious and demands that the clues she has left where far from deliberate. From this, the audience can analyse that she is in a bad state, as she has been living in a small condition that whole time. In this scene, she is represented as aggressive, similarly to how Sam was represented straight away in the beginning scene of Kidulthood.In both films, there are representations of teenage antagonists being aggressive, powerful and emotionally damaged. Both films reflect on the teenagers growth. They either learn or regret, wishing things may have been different and having to learn the hard way. Through my analysis, I believe that both of the antagonists end up being represented as powerful and aggressive, as well as being emotionally damaged. This is shown through the elements of mise-en-scene, cinematography, sound and editing, which highlights them from the other characters in most of the frames, making them the subject. Both directors find ways to emphasise the antagonists superiority, by using things such as semiotics and dialogue as well as reflecting their form of power, by constantly taking control of situations until the very end, when they stand-alone. But at the same time, the directors also finds ways to make the audience sympathise them, to make the audience question whether they are masking their true emotions, and whether teens in modern society are represented as being too generalised and misunderstood.

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