TV: Capital case study

 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

1) What positive points does the review pick out about Capital? What criticisms are made - either of the TV drama or the original novel?
 Peter Bowker and Euros Lyn, who have adapted and directed so excellently – 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.  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.

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?

it ’s all so instantly recognisable. I live in the capital, in a street from a similar era, though in a far less salubrious area (house prices, obviously still insane, but about a third of Pepys Road). We have pretty much that exact shop. And a few – fewer and fewer – Petunias. There aren’t any bankers, or Range Rovers, or basement excavations, the City’s actual physical shadow hasn’t reached Dollis Hill yet, but the shadows of the shadows have, a couple of doctors moved in to where Jimmy (male Petunia, basically) lived, there’s a lawyer or two, plus the odd nanny. Not to mention the bloody Guardian. The issues, the conversations, the obsessions and the fears are the same.
It’s not just a brilliant allegorical portrait of London.

Trailer analysis

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

there are multiple drone and crane shots to capture the size and look of London and shows a glance into the culture 
 

2) How does the trailer use mise-en-scene to capture the family element of the drama?

the conversations in casual clothing and then home pyjamas clothing captures the family drama as there is scenes were there's issues between the families. the mise en scene of the setting of the family shop and moments around the diner table gives a real sense of family drama. the facial expressions of the characters e.g (happy frustrated etc) shows a real sense of family drama .

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

the narrative strand starts with a group of families lives being shown live on in London. It shows a visualisation of their life, where they work and their families and gives the audience a sense of what the characters I like, and what their lives are like. They’re about 15 seconds into the trailer. There is a man taking pictures of their houses which gives a sense of crime added into this narrative of family drama. The posters say in capital locks. ‘WE WANT WHAT YOU HAVE’ from this point onwards it shows the trouble is that the families go through during work and family problems and then shows how the cards being sent to them, consistently troubles them and scares them. 

Representations: close-textual analysis

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

petunia fainted and had breathing problems does foreshadows the narrative. Her character goes through in this she quotes “ no one would want what I have” does foreshadow the fact that she has a brain tumour and nobody knows that she therefore suggest that she is in pain and vulnerability does links to the mobility issues and loneliness that she is suffering from. Petunias husband, “ Albert didn’t much like change” this anti-immigration shades to Brexit to follow 2016 which links to gauntlets generation differences.

Scene 2: work in the City 6.28 – 8.10

The camera, shots and editing that Roger, and lother have no idea what Mark is talking about. This reflects the banking crisis of 2007 and 2008, another aspect of immigration is shown  through the German banker lother. there is also a contrast within the scene between the younger and older generation after generation is seen dismissing Mark due to his age, despite his understanding. Furthermore, the workplace is dominated by white men, it doesn’t reflect the diversity or anything towards gender equality.

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

“ feels like my bonus has been spent already before at trousered it” “how little a million pounds covers these days.” this shows the white rich families are represented within the show. They’ve already planned out where the money is going to go to and that like it’s already been spent. They don’t think about saving it up as they know they are going to receive more in the future and they don’t value as much. There is also a sense of transactional nature of Roger and Arabella’s relationship. This is because within the scene it consists of her requiring money for him and him receiving sexual desires back.

Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40

Quarentina is explored by criminal people trafficker as she is not permitted to work. She has paid £200-£300. Perhaps reinforce the positivity of dignity of work Quarentina takes pride in working hard and audiences in a position to respect her, unlike her character. This reinforces the capital ideology.. Conservative government often say the best way out of poverty is to work. This scene shows the challenges of being a refugee in London and the ways of making illegal money. Furthermore, there is a gender stereotype reinforced by the people trafficker the worst masculine stereotypes “ perhaps a little kiss?”-partiachy. Furthermore, the black female human rights lawyer said that traditional stereotype of gender and ethnicity. This may because suggests a left-wing ideology in producers in capital. This seems represent the poverty in London in contrast of the wealth.

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

“ what use is 30 grand?” this shows a stereotype of wealthy people as 30 grand is around the average salary, so for him to be complaining to have it as a bonus on top of his actual, which shows a contrast within the rich people and the poor people within London. “ fundamentally, not fair.”  “ this isn’t how it works” these quotes Furthermore, show his ungratefulness. Technical construction of the seen the close-up of Rogers hand gives an action code which shows tension and cross cutting and playing with time where there is jumping between the meeting and his reaction the editing speed of his journey home as well or shows what Rogers is feeling like once he’s found out this information. 

Scene 6: life at the corner shop 40.10 – 42.55

A strong female matriarch is shown. This is because the mother on the video call is from Pakistan however, she still telling her sons what to do this shows a sense of power as she is the one that everybody listens to. There is a technical construction of the scene. There is a mise en scene of all of them being packed around a small dining table together as a close-knit family. The editor to support does juxtaposition of a close-up shots, and I love matches and little glances. Despite the conflict. There is a real warmth in these characters. The responsibility to provide food, reinforces, capitalist values that an individual should provide for the family.

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?

In capital there is multiple stereotypes shown within this narrative. I believe capital reinforce the stereotypes we typically see in media. This is because a strong stereotype shown in media. nowadays  is rich white people the narrative strand of Roger and Arabella’s transitional relationship gives the audience a representation of the stereotype. As their relationship shows have received money from him to fund whatever she wants and him wanting sexual transition back. Furthermore, there is a stereotype that Asian people have corner shops or own corner shops as a job this again backs up the stereotype shown in London.

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?
banijay group

2) What was the breakthrough show for Kudos in 2002?
It came to international attention with the BAFTA Award-winning spy drama Spooks, which debuted on BBC One on 13 May 2002.

3) Watch the showreel on the Kudos website. What other TV dramas have Kudos produced? What awards have they won?

It has produced television series for the BBC, ITV, Channel 4, Sky, Amazon and Netflix and its productions include Tin Star, Humans, Broadchurch, The Tunnel, Grantchester, Apple Tree Yard, Utopia, Spooks (US:MI5), Hustle and Life on Mars/Ashes to Ashes.In 2007 it was voted Best Independent Production Company by Broadcast magazine

4) What audience pleasures does the showreel suggest Kudos productions offer? 

on the show real, it shows a range of different types of entertainment. there is representations of sexuality ethnicity age, race, gender which would attract audiences to what is fitted for them and help them connect to the narrative

Marketing and promotion

Read the BBC Press Pack for Capital.

1) How does the programme information on page 3 make Capital sound interesting to audiences?

On page 3, it gives information on the producers an actors that have been involved in this series. Do you spell intrigue the audience as it shows all the awards and other bestselling programmes  produced by the company and what actors have been involved in other award-winning series is and movies. This would interest the audience as they would be more likely to want to watch a show that has well known produces and actors as it is likely to be high quality. It’s also gives the audience information of what the show is based about Wychwood and treat them into watching as if they like the narrative structure which is written on this information sheet they would be intrigued to watch it.

2) Why does the programme information mention the other shows that the director and producer have worked on?

It helps the fans of the series to try watch capital as they could’ve liked and watch programs and series is which have the actors who have been produced by the same cell produces and director, which they have liked in the past which would get them to watch it capital.



3) Who commissioned Capital for BBC?

Charlotte Moore -controller of bbc 1 

Ben stephenson- controller of bbc drama 

4) Read the interview with Toby Jones. What does he say about the character of Roger?

he claims that Roger is an emotional path  and believes that Roger is an evil banker. He’s a slightly can complacent banker. He’s become used to a certain way of life and has self-imposed pressure to live that way. He spent a lot of money on things that other people don’t spend money on. For example, fixtures and fittings, but that is normal to him and his wife. He is not totally in charge of his life, or his work.

5) Read the interview with Adeel Akhtar (page 10). What does he suggest Capital says about the fictional Pepys Road and the sense of community (or lack of it) in London?

We’re living in a strange time now. I think we’re at a crossroads and a lot of things are slowly happening, socially, economically and culturally. Pepys Road is a manifestation of this. It’s an example of what is happening on a lot of roads in London and Britain.It looks at the idea of a community, and what it means to belong to the community from whatever background you’re from. One of the problems is that some people within a community, such as Ahmed’s brother Usman, feel ostracized from it. They feel like they don’t belong and are on the outside looking in. Capital looks at that concept and also that they are all part of something bigger than themselves

6) Read the interview with Shabana Azmi (page 12). What does she say about Asian representations in Britain? 

there is a fair representation of what its like to be a Asian family in Britain now . If you look at the subject of Capital, and the number of communities that are being represented, there’s awareness that the world is shrinking, and becoming a global village. We are absorbing cultures, and understanding them, or at least trying to understand them within their own paradigms

7) Read the interview with Peter Bowker (who adapted Capital - page 14). What are his favourite scenes in the drama and why?

I have a few favourite moments in the book which I wanted to make sure stayed as favourites in the adaptation. Christmas morning where Roger has been abandoned and left to look after his two 15 children is one that Euros (Director) has done brilliantly. Roger realises that his life is changing but it’s done with such comedy! It is one of those glorious Basil Fawlty moments where the farce is working at one level and the emotional farce is working at another. I also love the Kamals’ chaotic family meals. They are quintessentially archetypal family scenes that everybody lives through, but played with great comedic panache. And when Bogdan the Polish builder talks to Matya the Hungarian nanny about the affluent Londoners they are working for, it’s fascinating. Capital has a wonderful scale but is all about the minute observations of human nature 

8) Read the interview with Derek Wax, the Executive Producer for Kudos (page 16). Why did he produce Capital and what does it say about the way we live now?

The novel really spoke to me as it has a sweeping Dickensian ambition to it, all life in one street. I loved the sense of this big, expansive panorama of life as well as the small details of human behaviour. The whole of London seen through the microcosm of one street. And the characters are so complex, real and believable. Sometimes big ‘state of the nation’ novels use characters to illustrate political points, but Capital is far more subtle and nuanced. John gets inside their heads and allows us to engage with their thoughts and feelings, observes them with insight, humour and humanity, allows the story to breathe.The novel really spoke to me as it has a sweeping Dickensian ambition to it, all life in one street. I loved the sense of this big, expansive panorama of life as well as the small details of human behaviour. The whole of London seen through the microcosm of one street. And the characters are so complex, real and believable. Sometimes big ‘state of the nation’ novels use characters to illustrate political points, but Capital is far more subtle and nuanced. John gets inside their heads and allows us to engage with their thoughts and feelings, observes them with insight, humour and humanity, allows the story to breathe.