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Death 1:

-       Litterer

-       Run Over by Caravan

-       Crich Tram Museum

-       Impulsive

-       Chris

Death 2:

-       Writer Ian

-       Stalked and Bludgeoned

-       Caravan Park

-       Premeditated

-       Chris

Death 3:

-       Rambler

-       Bludgeoned

-       National Trust

-       Impulsive

-       Chris

Death 4:

-       Bride to Be

-       Pushed

-       Restaurant/Hen Night

-       Impulsive

-       Tina

Death 5:

-       Jogger

-       Ran Over

-       On Road

-       Impulsive

-       Tina

Death 6:

-       Cyclist Martin

-       Pushed

-       Desolate Valley

-       Impulsive

-       Tina

Death 7:

-       Chris

-       Suicide

-       Ribblehead Viaduct

-       Premeditated

-       Tina is Liberated

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-A formalist conception of narrative distinguished between plot and story and certainly Sightseers matches this conception.
The story begins with Tina and Chris’s life when they’re are in their 30s and you only really get a glimpse of the fairly dull and miserable lives they must have both led. Chris remains the bigger enigma and his statement that he brought an older girlfriend to a certain spot in the countryside is eerily loaded - he may have buried her there.  With Tina we witness some of her backstory and most is implied.

-With regards to structuralist theory, there are clear binary opposites at work in the film.
The most obvious of these are men and women, working class and middle class and in Tina's case conventional womanhood and her ideal.
The latter is keenly felt by Chris, with his aspirations and insecure sense of class consciousness - two of his victims are most definitely middle-class educated men with an apparent sense of entitlement.

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SYMBOLISM IN KNITTING (IDEOLOGY AND NARRATIVE)

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SYMBOLISM IN KNITTING (IDEOLOGY AND NARRATIVE)

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Knitting and murdering go hand in hand
- Tina's mum stigmatises Tina as a murderer because she killed Poppy with the knitting needles
-The fact knitting is a big part of Tina's personality could perhaps link to how this stigmatisation is inbuilt (self fulling prophecy)
- After she murders Martin she beginnings knitting again which could perhaps signify the link between the stigmatisation of her being a murderer and her fulfilling this
- Knitting could also be a symbol for Tina's repression in the murderous impulses but could also be repression in her sexuality, she knits her own underwear for Chris, which is unconventional to stereotypical underwear displaying her as a feminist

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NARRATIVE DEVICES AND CONSTRUCTS (NARRATIVE) 

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NARRATIVE DEVICES AND CONSTRUCTS (NARRATIVE) 

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-Voiceover and flashback aren't used a lot (the one exception for flashback Poppy's death) the story is implied and not explained. even with poppy's death this is discussed without context earlier in the plot.
- the constructions of the murders are significant as they are included and quite dramatically portrayed

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- Like a documentary at first - humour from representations of nationality. E.g. sitting outside of the caravan in hail is quintessentially British, the way the camera is placed in the scene when they arrive in the caravan park feels like we are in the backseat watching them converse similar to the way documentaries are filmed
-Chris is the more political of the two with his awareness of class entitlement and his distrust of middle-class institutions such as the Daily Mail and the National Trust.
However, his class struggle is really only a product of his social inadequacies and a sense of profound personal failure. His murderous acts are not political despite his attempted justifications of them in terms of environmentalism or working-class rage.
- Representations are important in sightseers, the clearest representation is in gender however the lack of representation of ethnicity. Age is also important in the ideology of the film as there is little variation in age apart from Tina's mum who is a stereotypical old woman and controlling mum
Tina and Chris are essentially still children at heart.
They are adults who have never grown up. Tina has yet to leave the maternal bosom and is very much a prisoner in her home. The opening words of “Mum!” repeated endlessly to deaf ears speaks volumes about their dysfunctional and uneven relationship.

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FEMINISM IN THE PORTRAYAL OF MASCULINITY (IDEOLOGY)

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FEMINISM IN THE PORTRAYAL OF MASCULINITY (IDEOLOGY)

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- One of the only films to highlight low level toxic masculinity and it's effect on relationships
- Martin - steals attention with manly interests, she's secondary. He contrasts with the horrible people they are, while he's harmless. The other victims we can deal with as they are faceless or have done wrong, but Martin is neither. Also suggests that the other victims are like Martin, but we wouldn't know
- Murder - Ian and hiker, his murders, glamourized, kind of with Chailey. Aggressive, cinematic, slow motion
-Indeed, although the film starts in a fairly traditional patriarchal territory with Chris holding his clipboard and itinerary, Tina soon outgrows her knight in shining armour and becomes his femme fatale.

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- Tina takes control of the situation when she tries to initiate sex with Chris.
- Don't frame her in an attractive way throughout, but in the scene her dialogue, red light, etc. sexualises her and means she takes control.
- She takes control of their sex life, which was him being dominant before, but at the end she's on top and strangling him.

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FEMINISM IN THE PORTRAYAL OF OTHER WOMEN (IDEOLOGY)

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FEMINISM IN THE PORTRAYAL OF OTHER WOMEN (IDEOLOGY)

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- Earlier on the jokes are at the expense of women (her mum and her being weird/stupid)
- She's ignored and manipulated by people (mum at the beginning), but killing gives her power. but for him it stops him from being emasculated 'I just want to be feared and respected'
- The binary opposition of the hen do and Tina when Chris and Tina are having their dinner date

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FEMINISM IN THE NARRATIVE (IDEOLOGY AND NARRATIVE)

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FEMINISM IN THE NARRATIVE (IDEOLOGY AND NARRATIVE)

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- At the end, she hooks up the caravan and drives off with it, after being shown earlier in the film to struggle hooking it up
- Chris drives narrative at the start of the film (he murders, we spend more time with him at the start than at the end), but focusses on her at the end, she drives it
- At the end doesn't resolve, ends on her hand, means she's done