WHAT I ENDED UP APPLYING
- Diegetic music becoming non-diegetic music, with the first song from the soundtrack, also like I saw in Billy Elliot.
- An example of counter typing, however mine wasn't as interesting as this, due to the limits of a student production
- Diegetic music becoming non-diegetic music, with the first song from the soundtrack, also like I saw in Billy Elliot.
- An example of counter typing, however mine wasn't as interesting as this, due to the limits of a student production
POSSIBLE POINTS OF INFLUENCE
- I would like to have countertypical representations like we have with the representation of Islam here, but also how I observed the representation of working class in This Is England, generally going against the stereotypes that Working Title have,
- I would like to have countertypical representations like we have with the representation of Islam here, but also how I observed the representation of working class in This Is England, generally going against the stereotypes that Working Title have,
THE INFIDEL
Josh Appignanesi, 2010
PRODUCTION COMPANIES: Slingshot Productions,
Met Film
Met Film
GENRE: Comedy-Drama (Dramedy)
LEAD ACTORS: Omad Djalili
Richard Schiff
Archie Panjabi
Igal Noar
BUDGET:
BOX OFFICE: $m (UK) $m (US) $m (worldwide)
CRITICAL KUDOS
BOX OFFICE: $m (UK) $m (US) $m (worldwide)
CRITICAL KUDOS
ROTTING TOMATOES: IDMb:
A full list of reviews listed on IDMb here.
You can find the full film uploaded to YouTube here (average quality with subtitles)
You can find the full film uploaded to YouTube here (average quality with subtitles)
TRAILERS:
A recognisable pop tune, Faith by George Michael is used, a commercial touch. The comedy is pushed forward hear, no real signifiers of the dark/serious elements
TITLES:
After 40 seconds of live action, we get the next round of titles, this time lightblue and bold, slightly more fitting for comedy.
We have the four main actors, signified with the final one being marked with and, often used for the antagonist.
The return of the red titles on black for one title for the TV, they fade away before we cut back to Mahmud.
EDITED BY KIM GASTER
DIRECTOR OF PHOTOGRAPHY NATASHA BRAIER
The opening track is over, and the film title has appeared, normally that ends the credits, but no, we still get more, in bold non-serif light blue.
EXECUTIVE PRODUCERS OMID DJALILI CAVAN ASH
PRODUCERS STEWART LE MARÉCHAL UZMA HASAN DAVID BADDIEL
PRODUCED BY ARVIND ETHAN DAVID
WRITTEN BY DAVID BADDIEL
DIRECTED BY JOSH APPIGNANESI
MISE-EN-SCENE:
....
REPRESENTATIONS:
NARRATIVE, GENRE, EXPOSITION:
....
SOUND:
There is an audio bridge when the third title on black comes on.
A recognisable pop tune, Faith by George Michael is used, a commercial touch. The comedy is pushed forward hear, no real signifiers of the dark/serious elements
SYPNOSIS:
Drama-comedy following a middle-aged, relaxed Muslim father who discovers later that he is actually adopted and is by birth Jewish, causing a mid-life crisis as he tries to find his new identity with this revelation, and a comical but very i
IDENTS:
Three idents, the first two being silent, the third having a signature sound.
It starts with red on black, a horror signifier normally, not the most fitting for dramedy.
Each title lasts 3 seconds with 2 seconds black between each. With the third title the audio bridge starts.
SLINGSHOT, OMRADSMAN & REVOLVER ENTERTAINMENT PRESENT
IN ASSOCIATION WITH THE SALT COMPANY
A SLINGSHOT/MET FILM/OMRADSMAN PRODUCTION
Each title lasts 3 seconds with 2 seconds black between each. With the third title the audio bridge starts.
SLINGSHOT, OMRADSMAN & REVOLVER ENTERTAINMENT PRESENT
IN ASSOCIATION WITH THE SALT COMPANY
A SLINGSHOT/MET FILM/OMRADSMAN PRODUCTION
After 40 seconds of live action, we get the next round of titles, this time lightblue and bold, slightly more fitting for comedy. We have the four main actors, signified with the final one being marked with and, often used for the antagonist.
OMID DJAJILINormally we'd expect more actors for the secondary list, but here we only get one, wouldn't it have been simpler to add him on to the the primary list?
RICHARD SCHIFF
ARCHIE PANJABI
AND IGAL NOAR
AMIT SHAH
ASSOCIATE PRODUCERS JEREMY AMIAS YONI MAGID SHAHIN SOBHANI
LINE PRODUCER CINDY IRVING
CASTING DIRECTOR JULIE HARKIN CDG
MAKE-UP & HAIR DESIGNER SARITA ALLISON
COSTUME DESIGNER MARIANNE AGERTOFT
ORIGINAL MUSIC BY ERRAN BARON COHEN
PRODUCTION DESIGNER ERIK REHL
The return of the red titles on black for one title for the TV, they fade away before we cut back to Mahmud.
EDITED BY KIM GASTER
DIRECTOR OF PHOTOGRAPHY NATASHA BRAIER
The opening track is over, and the film title has appeared, normally that ends the credits, but no, we still get more, in bold non-serif light blue.
EXECUTIVE PRODUCERS OMID DJALILI CAVAN ASH
PRODUCERS STEWART LE MARÉCHAL UZMA HASAN DAVID BADDIEL
PRODUCED BY ARVIND ETHAN DAVID
WRITTEN BY DAVID BADDIEL
DIRECTED BY JOSH APPIGNANESI
MISE-EN-SCENE:
....
REPRESENTATIONS:
SEXUALITY: ...
AGE: ...
SOCIAL CLASS:
REGIONAL IDENTITY:
GENDER:
ABILITY/DISABILITY:
AGE: ...
SOCIAL CLASS:
REGIONAL IDENTITY:
GENDER:
ABILITY/DISABILITY:
NARRATIVE, GENRE, EXPOSITION:
....
THE PROTAGONIST: Who do we follow? We follow him outside the house, and although we will see his son as well going with him, he has a moment on his own, and as he is pranked by the car, he looks up at the sky, foreshadowing his religious mid-life crisis.
SOUND:
There is an audio bridge when the third title on black comes on.
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