'Clockers' opening analysis

Clockers (1995) is an American crime drama film directed by Spike Lee.

Clockers opens with a non-diegetic soundtrack (Marc Dorsey's "People in Search of a Life") which juxtaposes a graphic montage of genuine crime-of-scene photographs. The graphic images of the deceased suggests that the film is not for the faint-hearted, thus it attracts a mature audience. Also, the use of police tape as a prop during the montage suggests that crime is a sub-genre of the 40 Acres and a Mule Filmworks production. In fact, the film is referred to as a 'Spike Lee Joint' during the titles, which suggests that the film will contain frequent marijuana use, which ties in with the film's crime sub-genre. 



When the montage is finished, the film fades-out, and then cuts to a close-up of a black character costumed in denim dungarees. This fashion accessory was popularised by urbanites during the 1990s, so perhaps this is the time period that the film is set in. A new, non-diegetic rap soundtrack about Brooklyn plays over the opening, which perhaps is a reference to the setting of the film. 



The opening cuts to a fancy black car. A two-shot shows that it is being ridden by two middle-aged white detectives wearing suits. The car, suit and race of the characters juxtaposes the surrounding run-down African-American neighbourhood. The characters' facial expressions show that they are patrolling the area, which suggests that the setting of the film is associated with criminality. 



An establishing shot then shows the car drive pass a park. A group shot shows that the park is occupied by a group of African-American adolescents, including the character costumed in denim dungarees. The characters are represented as stereotypical African-American youths who appreciate 'gangsta rap'. The characters dialogue contains slang words and profanity, which negatively represents the black young men. At times, the characters' diegetic dialogue is inaudible, which alienates the viewer by emphasising the distinctiveness of black subcultures in late 20th-Century America.



Ultimately, the opening uses mise-es-scéne, camerawork and sound to represent a stereotypical 1990s African-American community. Narration is restricted, however representation enables the audience to unravel the cultural context of Clockers.