Capital:Case Study
Capital: Case study blog tasks
Work through the following tasks to build a detailed case study for Capital. This will give you plenty of background information to use in an exam question. Remember, for this CSP the question could be on any of the key concepts: language, industries, audiences or representations.
Work through the following tasks to build a detailed case study for Capital. This will give you plenty of background information to use in an exam question. Remember, for this CSP the question could be on any of the key concepts: language, industries, audiences or representations.
Reviews and Features
Read the following review and feature on Capital:
Guardian review by Sam Wollaston
London Evening Standard: five things you need to know about Capital
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?
"They have managed to squeeze an incredible amount into one street, one book, and then further squeeze into three hours of television. A lot of the important stuff, as well as what is most wonderful and most terrible about the place.
It shows sympathetic and unsympathetic characters and the representation of the neighbourhood in Capital is identical to how most neighbourhoods look like in London.
It’s not just a brilliant allegorical portrait of London. There are stories to tell, the postcards keep coming, then DVDs, someone really WANTS WHAT THEY HAVE. We’re heading for a crash, big bang, meltdown. Is it that kind of Capital, too: not just principal city and wealth, but also punishable by death? Because Pepys Road, its residents, London itself, has cancer – a tumour of greed, and mistrust, hatred and pointlessness.
For the novel, it received significant praise from critics, and its themes remain disappointingly relevant almost a decade later."
It captures modern day London by the bonkers housing market and increasing rate of gentrification across London. Capital offers a microcosmic metaphor for London at large, but it also feels real in the portrayal of its characters, from the financially-sound to the economically-struggling. The characters are relatable and well-drawn.
Trailer analysis
Watch the trailer for Capital:
1) How does the drama use camerawork to capture London life?Ariel shot that shows the compact neighbourhoods of London
long shot of the neighbourhood
Introduces the main characters with medium shots and what they do for their job
2) How does the trailer introduce the different narrative strands suggesting tension or enigma in the 40-second running time?
With the setting it sometimes shows the inside of the characters houses and them having dinner and conversations. It also shows casual, every day clothing. Facial expressions of the characters when they're having dinner gives the audience a sense of a close relationship and happiness between the family.
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?
State-of-the-nation TV dramas have a lot to cover, particularly when they only get 4 episodes and the nation is in a right state.
Such novels try to represent an entire country at a particular moment in time. As such, they involve multiple storylines and a large cast. With a population of almost 9 million people, speaking about 250 languages, clearly no single text is going to encapsulate the reality of London, let alone the nation. That’s what makes the selections made in terms of
characters and storylines so interesting to explore further.
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.
3) What are the major themes in Capital and what does the article suggest regarding the impact of money on communities?
The street contains characters from all walks of life with different levels of economic
security and income. However, only top earners can afford to buy houses by the time the drama is set.
Given the houses are unaffordable to large numbers of Londoners, some of the themes are tackled through people with links to the street.
Immigration is explored through the character of Zimbabwean-born traffic warden, Quintana. We also have Polish builders and foreign-born nannies.
Roger represents money– or capital, to draw on an alternative meaning for the title. Thematically, it seems that money is breaking up the community and, by extension, breaking up social bonds up and down the country.
4) What different representations in Capital are discussed in the article?
The production leaves us in little doubt that the banks are the bad guys. We have community-minded Petunia, similarly community-minded Ahmed, the hard-working Eastern European builders and the spirited Quintana. The representations of good versus bad, rich versus poor and industrious versus feckless make for straightforward drama.
5) What does the final section of the article suggest regarding genre and overall message of the drama?
I’ve talked about Capital as a state-of-the-nation drama, but its opening sequence draws on the crime genre. Capital positions the actions of the banks as criminal. So hidden are their activities, so complex and difficult to track down, that a straightforward state-of-the nation drama could not possibly hope to cover them adequately. If the state-of-the-nation is in some ways unseen, perhaps the job of the artist is to make it clear. Perhaps that is just what Capital is trying to do.
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?
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 loft ambitions, given limitations imposed by production costs and schedules. Nonetheless, noteworthy attempts have been made in the past. My own favourite was Our
Friends in the North (1996), which tracked the lives of four.
2) Focusing on the industrial contexts, how does Capital help the BBC meet its obligations as a public service broadcaster?
In the 1960s through to the 1990s, covering aspects of politics, crime and policing, journalism and finance.
3) What do we learn about the ownership structure for production company Kudos?
The street contains characters from all walks of life with different levels of economic security and income.
4) How can David Hesmondhalgh's ideas in The Cultural Industries be linked to Capital and Kudos?
Capital positions the actions of the banks as criminal. So hidden are their activities, so complex and difficult to track down, that a straightforward state-of-the nation drama could not possibly hope to cover them adequately. But it can try and expose them in other ways. The shadowy figure in episode one comes across not so much as a criminal as
a Banksy-style urban artist. This is particularly apparent in the closing shot. The camera zooms out to show the street
in its entirety.
It suggests that "Capital" meets the genre conventions of crime and social realism in a few ways. Firstly, the show explores the aftermath of a mysterious crime, which adds an element of suspense and intrigue to the storyline. This crime serves as a central plot point that drives the narrative forward. Additionally, "Capital" delves into the lives of various characters from different social backgrounds, providing a realistic portrayal of urban life in London. It tackles social issues and examines the complexities of relationships and community dynamics. This combination of crime elements and social realism helps "Capital" fit within the genre conventions of crime and social realism.
6) How does the factsheet analyse the DVD packaging and what this communicates to the audience?
DVD packaging plays an important role in attracting viewers and conveying the tone and genre of a show. It often includes key visuals, such as images of the cast or scenes from the series, along with text that provides information about the show. The packaging design, color scheme, and overall aesthetic can communicate the mood, genre, and target audience of the show. So, while the factsheet doesn't dive into the DVD packaging, it's worth considering how it might contribute to the audience's perception and expectations of "Capital."
7) Look at page 5 of the factsheet. Choose one of the audience theories in the table and apply it to Capital.
DVD packaging plays an important role in attracting viewers and conveying the tone and genre of a show. It often includes key visuals, such as images of the cast or scenes from the series, along with text that provides information about the show. The packaging design, colour scheme, and overall aesthetic can communicate the mood, genre, and target audience of the show. So, while the factsheet doesn't dive into the DVD packaging, it's worth considering how it might contribute to the audience's perception and expectations of "Capital."
8) What does the factsheet suggest regarding binary oppositions in Capital?
The factsheet suggests that "Capital" explores various binary oppositions. These are contrasting elements or themes that are presented throughout the show. For example, one binary opposition in "Capital" could be wealth versus poverty. The show depicts characters from different socioeconomic backgrounds, highlighting the disparities and tensions that exist within the community. Another binary opposition could be honesty versus deceit, as the show delves into the aftermath of a mysterious crime and the secrets that unfold. These binary oppositions add depth and complexity to the narrative, creating conflicts and driving the storyline forward. Hope that gives you some insight into the binary oppositions in "Hey Rodaruuney! The factsheet suggests that "Capital" explores various binary oppositions. These are contrasting elements or themes that are presented throughout the show. For example, one binary opposition in "Capital" could be wealth versus poverty. The show depicts characters from different socioeconomic backgrounds, highlighting the disparities and tensions that exist within the community. Another binary opposition could be honesty versus deceit, as the show delves into the aftermath of a mysterious crime and the secrets that unfold. These binary oppositions add depth and complexity to the narrative, creating conflicts and driving the storyline forward.
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
Scene 2: work in the City 6.28 – 8.10
Scene 3: “Which of those isn’t absolutely essential?” 14.00 – 15.35
Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40
Scene 5: “What use is 30 grand?” 36.40 – 39.00
Scene 6: life at the corner shop 40.10 – 42.55
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.
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
Scene 2: work in the City 6.28 – 8.10
Scene 3: “Which of those isn’t absolutely essential?” 14.00 – 15.35
Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40
Scene 5: “What use is 30 grand?” 36.40 – 39.00
Scene 6: life at the corner shop 40.10 – 42.55
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.
Scene 1 (00:30 - 4:49)
London
-Dark, suggests manipulation - building the narrative
-Busy, scaffolding and people moving in and out
-Old, house prices going up each year
-Familiar and recognisable
FGER
-Muslims, seeks, Hindus, Pakistanis, West Indians, Indians all migrating to England
-Male + Female
-West asian, British.
-We see families still together and families apart because of death. Starts off in 1960’s to 2015.
-Ethnic diversity
-Subverting stereotypes
-Traditional gender roles
-Similarities between different ethnic groups
-“He’ll be volunteering for Syria next.”
CWIW
-Wealth, old lady says that everyone on the street are millionaires due to house price inflation
-Pakistani family - lower to middle class, entrepreneurial, stereotypical
-Animation to show the increase of house prices.
-Dynamic, constantly changing
IAA
-Immigrants moving to England, increasing population and demanding of housing, therefore increasing house price
-Houses aging start to increase in value, but everyone is slowly aging as well
-1960’s to 2015
-Colour saturation signified the past (bright and colourful).
Scene 2 (6:28 - 8:10)
London
-Busy
-Overpopulated
-Crowded
-Big buildings, expensive, bird’s eye shot of everything
-Noisy
-Contrasts from the suburbs
-London, the iconic representation of capitalism
FGER
-Distant because of work
-No diversity between gender
-Swiss boss
-diversity in the capital, before he goes into work
-White, privileged men
-Banking and finance, masculine
-Male driven
-Competitive
CWIW
-Cocky dialogue
-Big buildings
-Sense of high ground is established
-Sense of trying to be a better worker than someone else.
-Strong feeling of capitalism at play with the cocky dialogue and sophisticated language
-Suits and briefcases
-London, the Iconic representation of capitalism
-Global capitalism
IAA
-
Scene 3(14:00 - 15:35)
London
-
FGER
-Conflicting
-Seemed to be kept up for financial reasons
-Distant
-Pointless
-Roger thinks he can get cheeky with the breast after chatting that work money bollocks
-Middle-class family
-Comic
-Stereotype of middle class people
-His wife is a gold digger
-Loveless marriage
-Exploiting Roger: Robbing him off a great time
CWIW
-Work getting in the way of the relationship
-Cost of living is incredibly high
-Roger saying that “£1m isn’t enough to live off of these days”
Scene 4(18:03-19:42 and 31:10-32:40)
London
-Uninviting
-Too overpopulated
-Wanting to kick out people
-Lack of remorse
FGER
-Christianity is a big part in said characters life
CWIW
-
IAA
-Risky
-Threat of death, threat of rape
-Not safe
-An escape
-Not properly cared for
-Horrible management
-Lack of remorse
-Sympathy for said character
-Can’t earn the exact money made
Scene 5:
- Roger completely destroyed by 30 grand bonus shows the white privilege that Roger has as he expected 6/7 figures as well as ungratefulness for the money he earns.
- Audio and camerawork used to emphasise the difference between rich and poor in London helps create sympathy towards Quentina
Scene 6:
-Scene with Arabella in corner shop - Shows the lack of connection between Ahmed and Arabella as she never goes to that shop. Shows divide between class
-Mise-en-scene of the dinner table scene - Kamal family are all sitting around the table eating dinner with each other, even video calling Kamal's mother to join then. In contrast, we never see Roger's family together around the table having a meal
- Social class - Arabella doesn’t know how to react when the Kamal family give the coriander for free. Working class values of helping out a neighbour seem completely alien to Arabella. Reflects the difference between rich and poor - emphasises the negative representation of the rich.
One stereotype is towards the Pakistani family, which shows that Pakistani families or individuals often run corner shops. Another stereotype is towards Roger and his wife which reinforces traditional stereotypes of British white families and that they're are often wealthy. Another stereotype is towards Roger and the fact that he's a white British citizen that words in banking. A stereotype towards immigrants which is that they are often lazy and don't want to work, this stereotype is subverted by the traffic warden Quentina, the Pakistani family, and the Bogdan the Polish builder.
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.
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 and Spy drama Spooks
2) Watch the showreel on the Kudos website. What other TV dramas have Kudos produced and for which channels? What awards have they won?
2) Watch the showreel on the Kudos website. What other TV dramas have Kudos produced and for which channels? What awards have they won?
New variations of the genre create interest
Diversity in their media productions
Audience escapism
Relatable characters and situations
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