Read the following review and feature on Capital:
Guardian review by Sam Wollaston
London Evening Standard: five things you need to know about Capital
1) What positive points does the review pick out about Capital? What criticisms are made - either of the TV drama or the original novel?
It gives a good representation of London life and shows how peoples lives are and how they struggle day to day basis
2) What references can you find in the reviews and feature to the idea Capital is a 'state-of-the-nation' drama? How does it capture modern-day London?
The TV adaptation is set in present day We may technically be moving out of the recession now, but the bonkers housing market and increasing rate of gentrification across London means that Capital’s ideas still stand. Reflecting the times, the setting has been changed from Clapham (in the 2008 book) to Balham / Tooting (in the 2015 series).
Trailer analysis
Watch the trailer for Capital:
1) How does the drama use camerawork to capture London life?
There are establishing scenes of London first showing the viewer the place then there are a variety of camera shots showing each characters and the struggles they are facing living in London. There is a significant difference between the working class and the higher/middle class people.
2) How does the trailer introduce the different narrative strands suggesting tension or enigma in the 40-second running time?
Trailer analysis
Watch the trailer for Capital:
1) How does the drama use camerawork to capture London life?
There are establishing scenes of London first showing the viewer the place then there are a variety of camera shots showing each characters and the struggles they are facing living in London. There is a significant difference between the working class and the higher/middle class people.
2) How does the trailer introduce the different narrative strands suggesting tension or enigma in the 40-second running time?
It shows each character which can convey a meaning to the audience that there are different narratives happening with each character and this will build on if you watch the series
Capital in Media Magazine
Issue 83 of Media Magazine has a feature exploring Capital as a media product. Read ‘We Want What You Have’ in MM83 (p10). You'll find our Media Magazine archive here - remember you'll need your Greenford Google login to access. Answer the following questions:
1) What does the article suggest about the 'state of the nation' genre and how Capital is an example of this?
The drama, Capital (BBC 2015), is based on a ‘state-
of-the-nation’ novel of the same name by John Lanchester. Such novels try to represent an entire country at a particular moment in time. As such, they involve multiple storylines and a large cast. It’s tricky for a television adaptation to have such lofty ambitions, given limitations imposed by production costs and schedules.
2) What does the article suggest regarding the setting of Capital?
Setting the drama entirely in the capital city might enrage those who see the UK as being too London-centric, but it makes sense in the context of a multi-stranded production. London sucks in people from around the country and around the globe. It is vast, complex and endlessly fascinating. Centring the action on a single street then helps bring some focus to the narrative. This is demonstrated in establishing shots at various points in episode one. Aerial shots of large chunks of the city zoom in to smaller segments, before zooming in on Pepys Road in particular, and then a single house or character.
3) What are the major themes in Capital and what does the article suggest regarding the impact of money on communities?
The production leaves us in little doubt that the banks are the bad guys. Banker Roger is a weak, feckless character, in thrall to wealth and capable of uttering phrases like ‘What use is £30,000 to anyone?’ His wife Arabella, obsessed with interior design and foreign holidays, is only with him for his money.
4) What different representations in Capital are discussed in the article?
The representations of good versus bad, rich versus poor and industrious versus feckless make for straightforward drama. There are still questions to be asked, though. The Daily Mail was outraged by what it saw as yet another attack on the banks and an uncritical portrayal of immigrants as unfailingly good and hard-working.
5) What does the final section of the article suggest regarding genre and overall message of the drama?
Framing a state-of-the-nation drama with this crime element helps to hold the viewer’s attention. But it also has an artistic purpose. All of our lives are framed by a hidden, sinister force, one that the drama clearly identifies as capital (in the money sense). Money, mind-bogglingly large amounts of it, moves around the world unseen.
Capital Media Factsheet
Use our Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) or on Google Drive here (you'll need your Greenford Google login) to find Media Factsheet #194 on Capital (BBC TV Drama).
Read the whole of Factsheet and answer the following questions:
1) What does the factsheet say about the characters on the first page?
Roger and Arabella Yount (no. 92). We are also introduced to the Kamal family, who run the corner shop, and Quentina Mkfesi, a religious asylum seeker with a PhD working illegally as a traffic warden. The interactions between the characters reflect the tensions between different cultures and costume is used to quickly communicate the different character roles.
2) Focusing on the industrial contexts, how does Capital help the BBC meet its obligations as a public service broadcaster?
Capital was promoted specifically as a ‘state of the nation’ series, reflecting the BBC’s status as an institution with a unique remit to represent the country.
3) What do we learn about the ownership structure for production company Kudos?
The ownership of Kudos reflects a horizontally integrated company. The parent company, Endemol Shine UK, own a range of TV production companies across different formats and genres.
4) How can David Hesmondhalgh's ideas in The Cultural Industries be linked to Capital and Kudos?
Horizontally intergradation links to hesmondhalgh risky business idea
Conventions of crime genre
• Use of narrative enigmas.
• Restricted narrative.
• Resolution of a mystery.
• Question of morality.
• Debates around innocence and guilt.
• Verisimilitude – representations of ‘ordinary’ people in
everyday life are recognisable to audience.
Conventions of social realism
• Strive to represent regions of UK with authenticity.
• Narratives explore social issues (such as economic
inequalities/immigration/Islamophobia).
• Triumph over adversity.
• Shooting on location to offer authenticity.
6) How does the factsheet analyse the DVD packaging and what this communicates to the audience?
The DVD cover uses the same promotional images that feature in media pack, website and press coverage. This creates the recognisable brand for the audience. The silhouette skyline of London contains clear geographical markers that denote the setting, and also establish the themes of British culture and financial issues (as both the Houses of Parliament and the Gherkin are featured). The reference to Kudos’ previous productions serves to give credibility to the TV drama and is designed to appeal to audiences who may not be familiar with the BBC (this DVD can be purchased globally).
7) Look at page 5 of the factsheet. Choose one of the audience theories in the table and apply it to Capital.
Reception theory – Hall
Preferred reading- Capitals preferred reading is it wants people seeing the struggles others have and how they fight against the struggles
Negotiated reading- Both parties are struggling because of the government which is making it harder for the ordinary people
Oppositional reading- That Immigration is ruining the country and they aren't hard working they claim benefits
8) What does the factsheet suggest regarding binary oppositions in Capital?
The multi-stranded narrative uses binary oppositions throughout to highlight the difference or inequality in Pepys Road, and then raise questions about inequality in London more widely. The character of Roger Yount is a clear example of this. During his own narrative development, we see binary oppositions within his own character (the money driven banker starts to yearn for a life with more meaning).
Representations: close-textual analysis
Capital offers a range of fascinating representations - from London and asylum seekers to capitalism and inequality. You need to be able to confidently discuss these issues in the context of 2015 London - with reference to key scenes from episode 1. Representations include: London, family, gender, ethnicity, religion, immigration, asylum, inequality, wealth, capitalism, aging and more.
These notes from a lesson analysing these clips will help with this element of the case study. You'll need your Greenford Google login to access the document.
1) Write an analysis of the representations in each of the key scenes from episode 1 we studied in the lesson:
Scene 1: opening sequence 00:30 – 4.49
1) Write an analysis of the representations in each of the key scenes from episode 1 we studied in the lesson:
Scene 1: opening sequence 00:30 – 4.49
Birdseye view of London lights
middle class
Scene 2: work in the City 6.28 – 8.10
All white males in this scene shows that the people in charge are all white. No diversity and no females
German Boss
Scene 3: “Which of those isn’t absolutely essential?” 14.00 – 15.35
Rodger - upper class white man: impatient, greedy and just wants all the money to himself
expectation for roger to make money - reinforces traditional role
Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40
Illegal immigration. Seeking asylum. "If I go back I will be killed"
Austerity
no asylum for Zimbabwean nationals
Scene 5: “What use is 30 grand?” 36.40 – 39.00
Drone shot of London. Shows how wealthy London is and how populated it is
'not a question of greed its justice'
roger throwing up
Scene 6: life at the corner shop 40.10 – 42.55
'responsibility of providing food'
'White people have no idea'
Integration of immigrants - debate played out within Kamal family: "Get a shave"
You can choose which aspects to focus on for each scene: e.g. London, family, gender, ethnicity, religion, immigration, asylum, inequality, wealth, aging etc. Feel free to use bullet points for each scene - a summary of your notes is fine.
2) How does Capital use stereotypes? Do the characters and issues represented in Capital reinforce or subvert the stereotypes we typically see in the media?
Capital reinforces the stereotypes of white people acclaiming they are racist and rational and greedy.
Industries and production context
Capital was produced by independent production company Kudos for the BBC. Look at the Kudos website and also read the Kudos Wikipedia page.
1) Who is the parent company for Kudos? What changes of ownership have there been for Kudos? This is an example of conglomerate ownership.
Banijay UK productions sold to Shine limited in 2006 and acquired by News corps in 2011 and shared with Endemol shine studies. Then was bought back by Banijay
2) Watch the showreel on the Kudos website. What other TV dramas have Kudos produced and for which channels? What awards have they won?
Capital was produced by independent production company Kudos for the BBC. Look at the Kudos website and also read the Kudos Wikipedia page.
1) Who is the parent company for Kudos? What changes of ownership have there been for Kudos? This is an example of conglomerate ownership.
Banijay UK productions sold to Shine limited in 2006 and acquired by News corps in 2011 and shared with Endemol shine studies. Then was bought back by Banijay
2) Watch the showreel on the Kudos website. What other TV dramas have Kudos produced and for which channels? What awards have they won?
Show: Deep Water
Channel: ITV
Show: SAS Rouge Heroes
Channel: BBC One/Epix
Show: Tin Star
Channel: Sky/Amazon
Award: Winner 2021 British Academy Scotland Awards
Comments
Post a Comment