in the story elements can be seen in the methods of storytelling, the representations and motivations of characters, the relationships between characters, and the narrative’s point of view; social values can also be seen in the production elements of lighting, acting, sound, mise en scène and editing. These elements can give a startling insight into the social values that existed at the time the film was produced, including representations of different social values throughout different layers within the film. CASE Study

# SHAME (1987)

### SHAME is a text that clearly shows the social values of the production’s time and place, and where those values meet and clash.

### Critical Review

"A black leather clad figure on a motorcycle appears, a dot in the distance of the open road. The figure draws closer. The big engine purrs in the still open countryside. The motorcycle runs past us. The rider is ASTA CADELL..."

The film Shame, directed by Steve Jodrell is an influential and compelling film about the horror and acceptance of gang rape within a small community. The film begins with the arrival of Asta Cadell (Deborah Lee Furness) a tough, leather clad, witty female lawyer who is forced to stopover in the small country town of Ginaborak whilst waiting for her motorbike parts to arrive. From the very beginning, the gender differences in the film are apparent. The men are aggressive and portray ownership whilst the women are cowering and quiet. Although reluctant to stay in the town, Asta is offered lodgings by Tim Curtis (Tony Barry) a local mechanic and learns of the rape of his daughter Lizze (Simone Buchanan) the previous evening. As Asta befriends Lizze, she confesses that the local lad's repeatedly gang rape the women of Ginborak without any consequences. Even the law enforcement turn a blind eye to the youths who are 'highly spirited'. As the story unfolds we meet Ross and Penny, she has been ostracised from the town for speaking up about her rape and her husband is regularly harassed and beaten by the town's lads. Their mothers try to blame Lizzie for 'being too easy' and one mother tries to bribe her with clothes to stay quiet. The fathers condone their behaviour stating that 'boys will be boys'. So Lizze and Asta decide to fight back. This builds up to a huge crescendo which combines all the subplots of the film. The women of the town come together as they fight back against the rapists. Unfortunately it is all too late for Lizze. As she hides in the police station whilst the town fights the drunken lads attacking the Curtis household, two boys find her. Despite screams of help she is whisked away in their car. Lizzie tries to escape only to be thrown onto the road and killed. A tragic heart wrenching ending to this very powerful film. In the final scene the town of Ginaborak stands in silence as her body is placed in the back of a truck. The Sheriff looks at one of the women: WAL CUDDY (Sherif): Well - I hope you're bloody satisfied. Asta stares at him. She can't speak. TINA: No, Wal - we're not bloody satisfied - not by a along way - 'mate'... This final scene is an interesting end to the film. After the death of a teenager the mentality of the Sheriff stays the same. However, it is resolved that the women will no longer stand for such opinions and that there has been