them. He is a white, proud Britain who is being left-behind due to ‘pakis’ and ‘blacks’. As with most of Clarke’s work avoids the trope of ‘unblemished heroes’ (Porton, 2005) that center the work of other Social Realism directors.
In Alan Clarke: In It For Life, Howard Schuman writes that Clarke is either an abetter or castigator in his framing of Trevor. When full of righteous nihilism, Clarke frames Trevor in such a manner that he looms over the scene. The opening sequence, in which Trevor is in court on racially aggravated vandalism, Clarke shoots Close-Up framing Roth’s face. This is Trevor the undivided attention that he seeks; he is somebody in that court.
One could argue that the persecution that Trevor perceives is actually represented by Errol, a young black offender who Trevor ‘befriends’. Although their ‘friendship’ is out of convince that want, they both indirectly illuminate upon the reasons or motivations of the other the audience. In the scene where Trevor and Errol break into the Records Room and read their assessments, Trevor mocks the content in Errol’s report, laughing at the reasons for his troublesome behavior and bad handwriting. Errol timidly
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The chaos and confusion within the movie mirrored the repercussions of a country that was in turmoil – 1980’s Britain. A highly explosive time that was coming out of the economic depression of the previous decade, but where traditional working class industries were feeling the wrath of Thatcherism. The IRA were over ten years deep into their bombing campaign and cities such as Liverpool and London were baring witness to race riots (John, 2006). The semiotics of disaffection, poverty, isolation, and racial tensions litter ‘MADE IN