Life on Mars

Synopsis:

Life on Mars follows the story of DCI Sam Tyler. In 2006 whilst hunting for a serial killer Sam is involved in a car accident which leaves him lying unconsious in the road. When he wakes he finds himself transported to 1973. He has no idea how or why he got there but is desperate to return home. Unfortunatly for Sam he has no idea how to do this, so until he figures out a way he must continue to live thirty-three years in the past. He joins a group of 70s CID police officers who's policing tactics are very different to those used by Sam. His prinicples are tested to the limit as the series continues and his fight for survival reaches terrifying heights.

Mixed Genres:

Life on Mars mixes action and science fiction to create an incredibly succesful series. The element of 70s cop-shows is attractive to those who enjoy action sequences and witty one-liners, however the entire story has an underlining, unhuman mystery which is greatly appealing to those who prefer much darker, more subtle, surrealist qualities in their television programmes. The combination of the two not only attracts a wider audience but makes the entire programme less two dimensional. It disuades the creaters from of the usual sterotype characters that often occur when creating single genre production and therefore creates a more realistic and human story.

Opening Sequence:



The opening sequence to 'Life on Mars' is extremely interesting and complex. It uses a variety of techniques including split screens and multiple moving images. The voice over is incredibly important as it gives a complete overview of Sam's situation which allows first-time watchers to understand the story up until that point.



'My name is Sam Tyler. I had an accident and I woke up in 1973, am I mad? In a comma? Or back in time? Whatever's happened its like I've landed on a different plannet, now maybe if I can work out the reason I can get home'



http://www.youtube.com/watch?v=qukVEWv3t_4




Shot-by-Shot anyalisis

Shot 1:

Medium Shot: Allows the viewer to see a clear vision of Sam, in addition to parts of the car

Information: Sam standing outside his car in 2006

Shot 2

Medium shot:

Information: Sam in 2006 being hit by a passing car. The collision isn't seen as the action happens incredibly fast hence the blur.




Shot 3:



Medium shot: Allows the viewer to see the location where the incident took place



Tilted Frame: The frame is tilted at a 90 degree angle, giving the illusion that Sam is standing, it takes the viewer a second to understand that he is actually lying on the ground


Information: Sam is lying on the ground after he was hit by the passing car


Shot 3



Medium Close Up: Shows Sam's detailed facial expressions. Also shows enough of the surrounding to make it clear to the audience that it is simply a larger version of the previous shot

Information: Sam is lying on the floor after he was hit by a passing car



Shot 4




Close Up: The close up of the car's side mirror allows the camera to pick up Sam's reflection

Information: Now awake in 1973 same checks his apperance in the side mirror of a car and realises the changes in his clothes. The distortion of his face in the mirror replicated the confusion and disorintation felt by Sam at that particular moment.



Shot 6





Long Shot: Shows enough of the surrounding for the viewer to realise the changed location in which the action is taking place

Information: Sam walking confused along a road in 1973. The old fashioned car and period dress of the other characters indicate the different time period


Shot 7

Medium Shot: Shows enough of Sam's facial expression to make the viewer understand his confused emotions, in addition to his clothing and location

Information: Sam stepping through the door of his new police station in 1973

Shot 8

Long Shot: Shows vast space and numerous characters who are visible to Sam

POV shot: Shows Sam's prespective of the situation

Information: Sam's view as he enters the 1973 police station, confused and disorentated from the crash

Shot 9

Medium Long Shot: Shows majority of Sam's body but not clear facial expressions or body language.

Low-Angle shot: Makes Sam look taller and more powerful

Information: Sam looking towards the sky

Medium long shot: Shows the majority of Sam's body, no facial expressions as he is faced away from the camera. The building in which he is walking towards is also visable to the audience.

Low angle shot:

Information: Sam walks towards a building in 1973


Shot 10

Split screen: Shows the audience multiple facial expresions of Sam

Extreme Close Up: Camera is only focused on the eyes and nose

Shot 11

Split screen: The checked squares cannotate prison bars - The programme is focused on police officers

Extreme Close up

Text: 'Life on 1973' - The numbers scroll from 0000 incredibly fast until they reach 1973 - this is the year in which Sam finds himself.

Shot 12

Split screen:

Extreme Close Up and Close Up: Each line shows Sam in a different position.

Text: 'Life on Mars' - The title of the programe, the numbers 1973, which were used in the previous shot fade into the letters M-A-R-S

Shot 13

Medium long shot: Shows image of Sam lying down on a bed, Has clear facial expressions in addition to a good view of his surroundings

Text: 'John Simm' - The name of the actor who play Sam - His name appears infront of the image. The viewer immediatly connects the name to the face.

Shot 13

Medium Close Up: Ability to see facial expression and police warrent card

Information: By showing an image of his warrant card the viewer is alerted to the fact that he is a police officer.

There is still a frame of other close-up and extreme close up images of Sam.

Shot 14

Medium Close Up: Shows facial expression

Information: Name of the actor connected with the face alerts the viewer of the connection. Borderline of Sam's face reminds the viewer that the although a different character is the main focus of the shot he is still the main character.

Shot 15

Medium Shot: both characters can be seen although the shot is crowded due to the large border surrounding it.

Information: Sam throwing a punch at Gene Hunt (his boss)

Shot 16

Medium Long Shot: The car is the main focus of the shot

Text: 'Liz White'

Information: The car is used throughout the series and associated with the programme.

Shot 16

Medium Close Up: Fairly nondescript surroundings, viewer focuses on the characters face.

Text: 'Liz White' - Viewer connects the name of the actor with the face of the character

Shot 17

Medium Close Up: Clear Facial expression, Clothes worn indicates the type of person and job he has.

Text - 'Dean Andrews' - Actor who plays the character of Ray

Shot 18

Medium Shot

Text - 'Marshall Lancaster' - name connects with the face of the character

Information - The character is noticably younger than those shown prevously in the sequence

Shot 19

Medium Shot: Shows contrast between the three characters, their age, costume and facial expressions

Information: Obvious conflict between Sam and Gene with Chris (Marshall Lancaster) in the background.

Shot 20

Medium Shot:

Information: Still shot from the programme. The women is in handcuffs being pulled by Gene Hunt who it seems has arrested her. This shot highlights the police-show nature of the programme

Text: 'Co-Created by Mathew Grahman

Shot 21:

Same shot type and information as shot 20

Text: Co-Created by Tony Jordan - by using the same background when crediting the co-creators they seem of equal importance.

Shot 22

Shot: Medium Shot

Information: A closer, more direct and clearer version of shot 20 and 21

Text: 'Co-created by Ashley Pujrolm

Shot 23

Medium Close Up: See basic facial expressions of the characters

Over the shoulder shot: Shows the other two characters from the thirds point of view

Information: Still shot from the programme - the border has again increased making the shot smaller and less significant

Text: 'Written by Chris CanonBall'

Shot 24

Medium Close up: See clear facial expressions of the two characters

Two Shot: Their closeness and body langauge suggest that they are comfortable in each others presence.

Information: Shot of Sam and Annie - their romance becames a key feature in the programme.

Text: Produced by Cameron Roach

Shot 25

Medium Close Up: Clear facial expression of the character.

Information: Shot of Character Gene Hunt. The shot has the same text as the previous shot. The fact that the producer is worth two shots higlights his significance to the programme

Text: 'Produced by Cameron Roache

Shot 26

Medium Shot - See enough detail to establish the type of car in the shot

Information - The car is iconic throughout the series. The previous shot shows the character Gene Hunt who appears to be driving. This shot establishes that this was the car he was driving

Produced by Cameron Roach

Shot 27

Medium Shot - The characters detailed expressions and clothing are harder to see the further away they are from the camera

Information - A line of the four most important characters in the programme. Standing so close together creates a sense of unity and trust in each other.

Shot 28

Medium shot: Clear sight of both character's backs

Information: Sam and Gene are standing close together which shows a sense of companionship. Sam's right hand is clenched in a fist which cannotates violence of some sort.

Text 'Directed by Sj Clarkson

Shot 29

Medium shot

Infomation: The body language of Gene and Sam suggests that they have just thrown a punch at the man falling towards the camera. Their unity in this violent action suggests a bond between the two characters.

Text: 'Directed by Sj Clarkson