Case Study: Capital

Reviews and features

1) What positive points does the review pick out about Capital? What criticisms are made - either of the TV drama or the original novel?

The accuracy of the setting and the engaging story. There are some criticisms regarding some of the characters.

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?

There are references regarding the idea of a "state-of-the-nation" drama regarding the street/area and the community. It captures modern-day London with its diverse community and societal issues.

Trailer analysis

1) How does the drama use camerawork to capture London life?

It uses a lot of close camera shots to relay the close and personal connections a lot of the characters jave with their friends and family, and to also represent their personal lives. The characters in the drama all know each other one way or another and are all dealing with the same issue regarding the postcards. It subliminally gives the audience a sense of connection and closeness.

2) How does the trailer introduce the different narrative strands suggesting tension or enigma in the 40-second running time?

The trailer introduces some of the different narratives of the characters' lives and the main plot point regarding the "WE WANT WHAT YOU HAVE" postcards. It manages to squeeze in these facts in its short 40-second run time.

Capital in Media Magazine

1) What does the article suggest about the 'state of the nation' genre and how Capital is an example of this?

The state of the nation genre has to focus on things such as politics, crime and policing, journalism and finance. An example provided was Our Friends In The North, which was compared to Capital. Capital is an example of this as it tackles modern day issues whilst still providing the core expectations of a state of the nation drama.

2) What does the article suggest regarding the setting of Capital?

Setting the drama entirely in the capital of the UK may enrage audiences who see the UK as being too London-centric.

3) What are the major themes in Capital and what does the article suggest regarding the impact of money on communities?

House prices/history, immigration, community, money/capital and mystery. The prices of items and houses in London may be unaffordable to outsidera and smaller communities.

4) What different representations in Capital are discussed in the article?

People from other countries, like Quintana from Zimbabwe and Ahmed from Pakistan. There's also representations of older people, such as Petunia, and people working in finance, like Roger.

5) What does the final section of the article suggest regarding genre and overall message of the drama?

It combines elements of the crime genre and state of the nation drama and combines it into one. The overall message of the drama is to make previously invisible things very, very clear to a wide audience.

Capital Media Factsheet

Read the whole of Factsheet and answer the following questions:

1) What does the factsheet say about the characters on the first page?

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?

It meets the BBC's requirements of a public service broadcaster by informing and educating the masses on culture and identity, whilst entertaining them by showing those topics in an engaging and creative way.

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 different TV production companies. Endemol Shine UK is owned in equal share by Apollo Global Management and 21st Century Fox. 21st Century Fox is owned by the Murdoch family.

4) How can David Hesmondhalgh's ideas in The Cultural Industries be linked to Capital and Kudos? 

Hesmondhalgh's ideas apply as no matter how successful you can be, there'll always be a risk associated with it. News Corporation was a giant conglomerate that owned lots of brands/companies, and they split following a series of scandals in British press.

5) How does the factsheet suggest Capital meets the genre conventions of crime and social realism?

Conventions of the crime genre:

- Use of narrative enigmas
- Restricted narrative
- Resolution of a mystery
- Question of morality
- Debates around innocence and guilt
- Representations of ‘ordinary’ people in everyday life are recognisable to audience
- Power struggles
- Teamwork and pleasures in successful resolutions
- Corruption and betrayal often key theme within a narrative
- Villainy is evident through the characteristics of various characters

Conventions of the social realism genre:

- Strive to represent regions of UK with authenticity
- Narratives explore social issues
- Triumph over adversity
- Shooting on location to offer authenticity
- Wide shots used to establish the location and setting as this is often key to understanding the narrative and themes
- Humour and seriousness intertwined in a narrative

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.

7) Look at page 5 of the factsheet. Choose one of the audience theories in the table and apply it to Capital.

Reception theory:
Preferred reading - London has a few flaws, but they're things that need to be addressed
Negotiated reading - The flaws are a part of everyday society
Oppositional reading - London is horrible

Uses + Gratifications:
Personal identification - the characters
Surveillance - the daily lives of everyone
Social Interaction - the sense of community
Diversion - the engaging narrative

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 question about inequality in London more widely.

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

The accents create an authentic representation of the capital. The setting is a widely recognisable city. Immediately we see the narrative unfold and we start to try to piece together what is going on. Slowly but surely we're introduced to the main characters of the series, and the overwhelming sense of community present.

Scene 2: work in the City 6.28 – 8.10

London may look glamorous to the naked eye, but it's actually a pretty hectic and crowded place to live and work. We can see this clearly when Roger is on the tube, squeezed between crowds of people. The drone shots of London emphasise the power and dominance of one of the most influential and important cities in the world. In addition, the work is quite competitive; Roger dismisses the work of his younger colleague, a binary opposition between young and old.

Scene 3: “Which of those isn’t absolutely essential?” 14.00 – 15.35

Arabella stays at home and fulfils the typical role of a housewife. Meanwhile, Roger is the one who goes out every day and earns money for the family. He's worried about his bonus, thinking he'll make around £1 million, and fantasises about what he'd spend it on. His wife chimes in, suggesting instead that the money should be spent on more important things. This simple interaction shows the different mindsets of the two characters. One is completely focused on capital and extravagance, while the other is focused on well-being and providing what's right/essential for the family.

Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40

Quentina, an asylum seeker, is shown struggling in her daily life. She's threatened with being sent back to her home country, where she would be in mortal danger, and faces sexual harassment from someone she pays and presumably protects. Asylum seekers like Quentina show that it's not easy being an asylum seeker and that there are many hurdles to overcome on a daily basis.

Scene 5: “What use is 30 grand?” 36.40 – 39.00 

Another one that shows the mindset and priorities of certain characters, this time focusing on Roger again. He earns a bonus of 30 grand and is unhappy about it, exclaiming "What good is 30 grand?"; to him it means absolutely nothing, while to others 30 grand would change their lives.  It shows his very capitalistic mindset and how privileged he really is.

Scene 6: life at the corner shop 40.10 – 42.55

Despite his own struggles to provide for his family, Ahmed shows a sense of community to Arabella, who enters his shop in search of coriander; his daughter, of course, provides her with some, and he gives it to her for free. His family eats together at the table and they have a small argument about their place in the family; Ahmed provides for his family and tries to put food on the table. Ahmed as a character cares for his community and his family, a positive representation of an Islamic character.

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?

A complicated question, to put it mildly. Capital uses stereotypes in a way that allows the audience to relate to the characters and show their struggles, rather than demeaning them or showing them in a bad light. The stereotypes of the characters and their problems are very much subverted, but sometimes reinforced. Compared to other media, the use of stereotypes here isn't inherently bad.

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 / Banijay Entertainment. They used to be owned by Endemol Shine UK, who were also owned by 21st Century Fox.

2) Watch the showreel on the Kudos website. What other TV dramas have Kudos produced and for which channels? What awards have they won?

Then You Run for Sky, Sas Rogue Heroes for BBC/EPIX,  Tin Star for Sky/Amazon, Code 404 for Sky/NBCU, Two Weeks To Live for Sky/HBO Max, Grantchester for ITV/PBS, Deep Water for ITV, Responsible Child for BBC and Deadwater Fell for Channel 4.

3) How does Capital help the BBC to fulfil its remit as a public service broadcaster? You may want to look back at our work on public service broadcasting last term. 

It meets the BBC's remit of a public service broadcaster by informing and educating the masses on culture and identity, whilst entertaining them by showing those topics in an engaging and creative way.