It shows how asylum seekers like Quentina Mkfesi are represented as hard-working and resilient and never give up and this is also shown on the other end of the spectrum with the bankers wife, who represents how money can corrupt Londoners.
The book explores issues that others are not wanting to talk about such as the rising house rices and horrible state of the nation that the book is set in.
2) In the Telegraph 'behind the scenes' article, what does the writer say about the London housing market?
*this article required a subscription*
3) What references can you find in these reviews and features to the idea Capital is a 'state-of-the-nation' drama? How does it capture modern-day London?
It's a state of the nation drama due to the diverse social conditions the cast act out to be in. The period the book is set in is still disappointingly relevant - says the Evening Standard article.
The ES article also states that Capital speaks out to Londoners and evokes them to make a personal connection to one of the characters in the drama. Even the sweaty commute armpit shot depicts how this is a typical state-of-the-nation drama.
1) How does the drama use camerawork to capture London life?
The trailer starts with a top crane shot of a lot of houses which shows how packed tight London is and not an open and relaxed city.
The tracking shot with all these characters beong introduced is a key example of hoe Capital treinforces that London is very diverse with people of all socio-economic backgrounds.
2) How does the trailer use mise-en-scene to capture the family element of the drama?
In the Kamal family, the idea of togetherness is represented by having dinner together - highlighting that immigrants rely on being together to be happy whereas the Yount family show how sometimes money doesn't make you happy - with a lack of clothes and some dark lighting whereas the Kamal family are still in the dark but are happy with what little they have.
3) How does the trailer introduce narrative strands suggesting tension or enigma in the 40-second running time?
It suggests that Roger and his wife do not get on that well and could suggest there could be further tension between the two. The enigma codes come in the form of the postcards and who and why they were talong pictures - this leads the audience to wonder if those events are connected or not.
Another enigma code could be Gwen getting locked up as we do not find out that she is an asylum worker so we are intrigued to find out more about her.
1) What does this preview clip suggest about the potential sub-genres for Capital?
It definitely shows that it's a drama but it could be seen as a crime-drama or the most pertinent one - a state-of-the-nation drama.
2) What elements of the clip might suggest this is a 'state-of-the-nation' drama?
It shows the obvious divide in beliefs and racial tension between white people and Muslims as they mention Islamophobia. This tackles a heavy topic in a way that shows that even at the top of the law, some racial beliefs may still be held.
3) Analyse the mise-en-scene in this clip. How does this provide realism and familiarity for audiences?
The policeman is wearing an official jacket and has a badge which reassures us in some way that there will be a safety element to the resolution of this film. The policeman is also white and has a soft voice and is not too intimidating making the hallmarks of a typical friendly officer.
The Kamal family are wearing casual clothes which is common in the suburbs of London and that they are wearing sweaters and look and feel relaxed so they come across quite trustworthy.
4) What audience pleasures are provided by this scene?
One audience pleasure of this scene could be having a personal relationship. This is shown by sympathising with the Kamal family along with their children that they may not be safe. Personal identity may be evident here as immigrants or families such as the Kamals could be watching - creating a personal connection.
5) How is the audience positioned to respond to the different characters in this particular sequence?
The audience is positioned to respond positively to the Kamal family as they seem friendly and helpless but the racial views that are present within this time in London could be reinforced by the policeman as he doesn't arrive as soon as the postcards are an issue and inly comes after the 'white people' have complained.
1) How does this clip represent upper-middle-class family life?
This shows that the family is rich enough to have a nanny and that Roger is clearly trying to get with her. This is supported when Rogers wife comes in and ruins the fun the kids have been having - representing upper-middle class lives as miserable without cheating.
2) What narrative strands are suggested in this sequence?
The kids are oblivious to the fact that Roger and his wife's relationship are deteriorating and that Roger is trying to woo the nanny.
3) How is the audience positioned to respond to Roger Yount, the main character (banker and father to the two boys)?
The audience is supposed to either agree or disagree with Rogers POV on his relationship. He gets treated badly by his wife who is only there because of the money and that the kids are supposed to receive a special type of sympathy as it's not their fault.
1) Write an analysis of the representations in each of the key scenes from episode 1 we studied in class:
Scene 1: opening sequence 00:30 – 4.49
This reinforces Capital is a state-of-the-nation drama. It presents a positive multicultural aspect of London.It represents the classical Londoners as a 'north of the river' joke is made. Typical British families are represented as having mostly white-collar jobs and having a flashback scene with the old lady.
Scene 2: work in the City 6.28 – 8.10
It starts with an armpit shot which shows the gruelling feeling of a London city-centre commute. Ariel shot of Canary Wharf shows the power of a metropolitan city and how powerful our CBD is. The long shot in the train station shows human insignificance to the buildings.
Scene 3: “Which of those isn’t absolutely essential?” 14.00 – 15.35
Inequality of London represented perfectly here. Uses typical stereotypes such as 'German Efficiency' - showing English arrogance. 'Frock Money' implies a heavily patriarchal society and how they waste money everywhere.
Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40
Typical sexism with the forced kiss. Abuse of power and subverts feminist stereotypes.Minority groups get less pay than white people so this shows the racial divide here in London. Capital criticises political correctness through illegal work. Inequality between Roger and Quentina as Roger wants to leave and has a chance whereas Quentina wants to stay and is forced to leave London.
Scene 5: “What use is 30 grand?” 36.40 – 39.00
Shows how spoilt upper-middle class families are. Luther, German boss, cannot remember children's names. "fundamentally unfair" applies to most narrative strands. Quentina barely earns enough to keep alive and Roger vomits at the 30k which shows the parallel lives they live.
Scene 6: life at the corner shop 40.10 – 42.55
This depicts how working class shopkeepers, as well as immigrants, have a content life while n=having the stresses of feeding a large family and rising house prices. There are huge alternative representations that immigrants do contribute to the local economy and how they are very friendly and are willing to do kind things like give Rogers wife free coriander.
You can choose which aspects to focus on for each scene: e.g. London, family, gender, ethnicity, religion, immigration, asylum, inequality, wealth, aging etc.
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 dominant stereotypes of Rogers (Bankers family) being a well off family. With a hot room, summer house and two cars show how Roger and his family are living in luxury despite their dwindling relationship bond between husband and wife.
We see an alternative stereotype with the Kamal family and how they are supposed to be immigrants and 2nd generation immigrants who are seen as a bit of an enemy in some racist parts.
1) Who is the parent company for Kudos?
Endemol Shine Group
2) What was the breakthrough show for Kudos in 2002?
Spooks
3) Watch the showreel on the Kudos website. What other TV dramas have Kudos produced? What awards have they won?
Apple Tree Yard- this got critical acclaim from the Telegraoh
Broadchurch
Gunpowder
Tin Star - Hollywood reporter loves this
Troy - partnership with Netflix
4) What audience pleasures does the showreel suggest Kudos productions offer?
They create a lot of Personal relationship and identity ones such as the romance and the detectives one. There is also a lot of diversion with Troy and the 'orange shirt'
1) How does the programme information on page 3 make Capital sound interesting to audiences?
there are stories bursting with piercing and funny observations on modern life and urban existence, of ordinary people who find themselves caught and changed by a city at a time of extraordinary flux.
2) Why does the programme information mention the other shows that the director and producer have worked on?
Directed by Euros Lyn (Happy Valley, Last Tango In Halifax), Capital is a 3x60 produced by Kudos for BBC One. Executive producers are Derek Wax (The Hour, From There To Here) and Peter Bowker (Marvellous, From There To Here) for Kudos and Lucy Richer (Marvellous, The Casual Vacancy) for the BBC. It is produced by Matt Strevens (Cucumber, An Adventure In Space And Time).
3) Who commissioned Capital for BBC?
Charlotte Moore, Controller of BBC One and Ben Stephenson, Controller of BBC Drama.
4) Read the interview with Toby Jones. What does he say about the character of Roger?
What really attracted him to the part was that he’s a very well educated, functioning human being on one level, who has obeyed the rules and earned a lot of money, but on another level something is happening to him internally that he doesn’t have the language to articulate.
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?
Some people feel ostracized from the society. 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?
The street is like a 'global village;. There is so much diversity in one small part of the word that she feels like the world is shrinking.
7) Read the interview with Peter Bowker (who adapted Capital - page 14). What are his favourite scenes in the drama and why?
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?
He says that the obsession with property, the fact that London house prices have risen extraordinarily, has only intensified the sense of a society of haves and have-nots. Your home becomes the thing by which you are defined at some level, and in Capital we go from Bogdan's bedsit to Petunia's home untouched for 60 years, to Roger and Arabella with their multiple homes and constant refurbishment, which is a fascinating way of entering the psychology of these characters
1) How does the packaging use other critically acclaimed TV dramas to promote Capital?
You have the boxes of other characters which is like EastEnders?? (Never watched it)
The critical comments present Capital as a drama that is worth watching through things like 'compelling portrait of modern Britain'
2) What does the use of design and images suggest to the audience about the drama?
They use 'someone wants what you have' which shows how the tagline can hook the audience. The skyline of London cements that this is a state-of-the-nation drama.
3) How are review quotes used on the cover and what do they suggest to the audience about sub-genre, narrative and audience pleasures?
This suggests that it's a state-of-the-nation drama as well as a crime inspired drama. The box suggests that this will be a multi strand narrative as there are a lot of people on the cover and they are separated by these black boxes - symbolising division.
4) What representation of London does the DVD packaging offer?
As I mentioned before, the silhouette of the skyline of London shows how the city is quite a bleak place - thus reinforcing Capital being a state-of-the-nation drama. The black and yellow colour scheme reminds me of a black cab which is a staple of classic London imagery.
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