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A Level WJEC Film Studies Digital Technology in Amy (2015) A* Essay
A Level WJEC Film Studies Digital Technology in Amy (2015) A* Essay
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Digital Technology in Amy - AnswerHow far do digital technologies manipulate the spectator?
In Kapadia’s ‘Amy’ (2015), digital technology is used to manipulate the spectators into
Kapadia’s ‘true fiction’ construction of his perception of Amy Winehouse. ‘Amy’ is the second
film of his documentary trilogy and performatively and exploitatively looks into her reality.
Using secondary resources, from archival and digital footage, allows viewers to align with
Amy and begin to develop a passive spectatorship when watching Kapadia’s observational
documentary, therefore conforming to the idea that the use of digital footage helps
manipulate the spectator. However, other factors, such as sound can be just as important at
manipulation than just digital technology.
In the opening sequence, digital technology is used to establish Kapadia’s perspective of
Amy for the spectators. The fact the documentary opens with archival footage from a friend’s
camcorder, immediately portrays the comfort and humble beginnings Amy started with. The
handheld recording and the graininess of the camera also reinforce the authenticity of the
scene. Simultaneously, Kapadia also wants the viewers to see the natural talent that Amy
grew up with. This is evident when the camcorder pans to Amy when singing Happy
Birthday; the continuous shot paired with Amy being in the centre of the frame, conforming to
the rule of thirds, connotes that she is supposed to be the main focus of the film, and the
person with the most talent. However, the clip chosen also works as an intertextual reference
to Marilyn Monroe singing to JFK, which foreshadows her death caused by drugs. Kapadia
uses this scene to set out Amy’s beginnings, and her talent, and to foreshadow or remind the
audience of the tragic outcome; all whilst providing observational intimacy and an emotional
response for the audience. Without digital technology, Kapadia’s constructed reality would
not have been successful in manipulating the spectators with the absence of archival and
digital footage.
Furthermore, in the Back to Black sequence, the use of digital technology clearly shows her
at her peak and its narrative function is developmental. But it also hints at the other factors
(Fielder-Civil) that influenced her work and it serves as a reminder of her talent. In terms of
the original footage, this was shot as a document of the recording process and material like
this is used by record companies to resell an album in a new package. That said, Kapadia
uses this footage in a vastly unique way. Firstly, he foregrounds it with part of an interview
with Amy over the top of the sound of Ronson in the studio. Kapadia linked Amy’s voice with
footage of the people in her life whom the lyrics are about. In this sense, it can be argued
that Amy Winehouse is a ‘narrator.’ There is a caption used with the date (March 2016), the
situation (Recording Session with Mark Ronson), and the location (New York),
contextualising this sequence. In addition, the recurring captions spelling out the lyrics,
which have been contextualised earlier on in the sequence by their direct link to Fielder-Civil.
The impact of the handwritten lyrics on screen provides a sense of authenticity from Amy,
reminding the audience that she is still human, despite her being dehumanised in the press.
It also lets people focus on that specific verse of the song, and how it relates to this specific
point in her life. The lyrics “You went back to what you knew. So far removed from all that we
went through” refer to Blake and how he went back to his life before Amy and has seemed to
acclimatise very easily to it, having forgotten everything they went through. This helps
manipulate spectators as we cannot help but feel sorry for Amy, which strengthens the
alliance felt throughout.
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