Heat (1995)- Coffee Shop scene

The text contains a scene from the 1995 film, Heat. Lieutenant Vincent Hanna (Al Pacino) has organised a casual meeting with criminal Neil McCauley (Robert De Niro); during the face to face encounter, Hanna tries to convince McCauley to abandon taking "scores" and lead a normal life, as there seems to be a mutual decency between the men. Despite fully acknowledging the similarities between the pair, McCauley refuses to stop what he feels he is best at, and encourages Hanna to continue his pursuit of criminals such as himself. The target audience of this text (and film) is 15+,  male; as females in the films are portrayed as WAGs, and are abandoned by the criminals in the film when they feel the heat around the corner and are ultimately disregarded instantly. The film intelligently utilises Young and Rubicam's Cross Cultural Consumer Characterisation. McCauley a symbol for the likes of Aspirers, Cowboys and Drop Outs, whereas Hanna reflects more the Mainstreamer, Succeeder and hinting on Resigned. The film on a whole however, may appeal to a Mainstreamer as Al Pacino and Robert De Niro are both arguably the best actors in the world, easily provoking a blockbuster for any film they star in.

The preferred reading of the text is expressing that despite conflicting values between 2 different types of people, they still may be able to hold a good relationship through the understanding of one another. This is reflected through the informality of the setting, as a coffee shop is often a place where friends would socialise. As meant by Director Michael Mann, this portrays that despite such contrasting (and rivalling) occupations of the 2 men; the only thing that is consciously between them is something as casual as a coffee table, brilliantly emphasised through a long shot in the scene where both men are framed at either end of the table with nothing but casual lifestyle objects between them. Exaggerating without the power of a badge, there is no difference between the pair.

 And oppositional reading to the scene may be possessed by someone with a hardened relationship with police or criminality. They may understand that the 2 are in some way"on the same page", however they may believe the men must stick to their professions and find it absurd they are so openly discussing matters, potentially leaving a oppositional viewer seeing either man as disgusting by arguably exposing their vulnerability until negotiations fail, portraying a glamorisation of crime, of which people in position of legal authority or of certain ideology would find abhorrent. For example, owning this type of film, of which fantasises crime success, would be punishable, with something as serious as death on the agenda.

A negotiated interpretation of this could be seen as the pair highlighting their differences; as the lifestyles are under the microscope, it becomes apparent that Hanna feels oppressed by his hectic family life, which is the opposite of McCauley, of whom reiterates he has the ability to walk away from his current life and start another at any given time, explaining he has learnt this through experience gained through the dangerous nature of his work. Arguably enforcing that both men crave the situation of the other- Hanna to escape the pressures of balancing work and family, and McCauley to settle down with Aidy, his girlfriend; both of which know they can't. This negotiated reading could be decoded by an Escapist; of whom is currently situated with a problematic life which they wish to escape their problems- who may draw a connection to this perhaps unintended encoding.

In regards to Blumer and Katz "Uses and Gratifications" model; the film could used for mainly 2 of the 4 categories included in the theory; firstly, audiences may watch this film as a form of entertainment; to escape the responsibilities of life and latch on to the indulging "cat and mouse" chase between 2 of the finest actors to grace a screen. The other category of which this film entertains is for the sake of personal identity. Someone may find themselves comparing their own life to De Niro or Pacino's intense counterparts- leading them to relate to either's individual problems and perspectives. The older audience members may relate to Vincent Hanna, as his constant drain of balancing life on so many different fronts is apparent. Whereas, the younger members of the audience population may find a connection to Neil McCauley, and his admiration to achieve the best, doing what he deems necessary, with impulse, disregarding any form of consequence or punishment.