Case Study #1 - Women In Lead Roles
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Title: The Fall
Created: 13 May 2013 – 28 October 2016 Genre: Crime drama/Thriller Created by: Allan Cubitt Written by: Allan Cubitt Directed by: Jakob Verbruggen, Allan Cubitt Starring: Gillian Anderson, Jamie Dornan, Seasons: 3 Episodes: 17 Production companies: Fables Limited, Artists Studio, BBC Northern Ireland, RTÉ Original Network: BBC Two |
When the show first aired on television in 2013 it came under heavy criticism when viewers complained that it glamorized violence against women, the camera didn’t once flinch at graphic depictions of sexual murder, violent abuse, necrophilia, stalking, pornography and masturbation. Christopher Stevens, writer for The Daily Mail even called the series “an invitation to share an extended rape fantasy.” BBC executives defended the show by claiming that it provides insight into the motives of a sadistic psychopath by beckoning viewers to share the killer’s experiences and it challenges our preconceptions about evil. However, despite this set back the show was praised for the way in which DSI Stella Gibson’s character, played by Gillian Anderson, is portrayed on screen. Her character defies the stereotypes often associated with powerful and strong women in high positions of power: nobody resents Gibson’s appearance or her authority and her gender is a non-issue; her subordinates hop to when she enters a room and follow her commands without question. Gibson doesn’t try to submerge her femininity and stomp around barking out orders. Anderson presents the character as a cool, calm, collected and well-put-together woman. When a shooting takes place at the station Gibson smoothly takes charge of the situation while also tending to a male colleague in shock. When she starts to suspect that the murder she is investigating might be linked to subsequent killings, Gibson presses for a task force to lead. Although, the show doesn’t dismiss her identity as a woman and early on her character tells a colleague to leave the word “innocent” out of a statement about the victims. “What if he kills a prostitute next? Or a woman walking home drunk?" She asks. “The media loves to divide women into virgins and vamps, angels or whores. Let’s not encourage them.” It is she who notices the victims’ painted nails, and who appears at a press conference with her own nails painted bright red as a signal to the serial killer that she’s on to him. She is also very good at her job without having to sacrifice her personal life for her career. This trope of powerful women sacrificing their personal lives in exchange for work is a long-running and frustrating one, including Sarah Linden, the detective on The Killing whose obsessive commitment to cases came at the cost of relationships with her fiancé and son. Yet neither does Gibson try to escape the stress and trauma of her job with damaging addictions. She has a glass of wine to unwind in the evening, and she swims every morning as discipline and release, showing the control and discipline she has invested within herself to become a stronger and more powerful person. Despite all these qualities, the protagonist, like any other isn’t without her flaws, one of which is her blindness when it comes to pursuing sexual relations with colleagues. Indeed, in her confidence that such liaisons are her right and won’t affect her work relationships, she isn't unlike Mad Men's Don Draper.
Case Study #2 - Race, Ethnicity & Immigration
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Title: Informer
Created: 16 October – 20 November 2018 Genre: Crime/Drama Created by: Rory Haines, Sohrab Noshirvani Written by: Rory Haines, Sohrab Noshirvani Directed by: Jonny Campbell Starring: Paddy Considine, Nabhaan Rizwan, Bel Powley, Fehinti Balogun, Sharon D. Clarke, Reiss Jeram, Arinzé Kene, Roger Jean Nsengiyumva, Jessica Raine, Elizabeth Rider, Sunetra Sarker, Paul Tylak, Robert Whitelock, Arsher Ali Seasons: 1 Episodes: 6 Production companies: Neal Street Productions Original Network: BBC One |
The globalised nature of this BBC One original is reflected in its showrunners Rory Haines and Sohrab Noshirvani. Haines originates from England, while Noshirvani hails from Iran, both met in New York City at Columbia University and together they have created a show that “feels intensional about race” (Mediaversity). The show sets itself in London, which is one of the most diverse cities in the world, so it makes sense to place the characters in a location where multiculturalism flourishes and one that reflects the unique storyline. The endearing British-Pakistani family, the Shars includes the male protagonist Raza Shar, although his ethnicity is never swept under the rug and made ‘colourblind’. However, the show does explore how he is treated differently by white characters, creating a contrast between the white community and the BAME (Black, Asian, Minority & Ethnic) community. Raza is and does see himself very much as English, as indicated by his thick British accent and use of localised British street slang. He also accepts his multi-hyphenated identity as a child of Muslim immigrants. The BBC received praise for showcasing a complex, multi-dimensional character of colour in a natural and authentic way, Raza is neither a perfect angel and nor is he a stereotyped criminal. However, this is undercut by the show’s casting of criminals and terrorists as almost entirely BAME. Raza is recruited by the police because he has access to Black and Brown neighbourhoods, but not because he actually has connections with any terrorists. In the first episode Raza even admits that he doesn’t know any terrorists in his neighbourhood, but apart from this one instance, Informer never challenges the assumption of criminality among predominantly Black and Brown neighbourhoods. The show does vehemently point out that not all Muslims are terrorists, but they seem to forget that not all terrorists are Muslim. In 2018, the British Home Office found that the largest ethnic group arrested for acts of terrorism were white, “but the internalized bias against BAME holds so fiercely, that even an Iranian American showrunner upholds this racist paradigm” (Mediversity). The show sympathizes with Raza and his family especially since Gabe forces Raza into employ by threatening to deport his mother who is an undocumented immigrant, bringing up the treatment of illegal and undocumented immigrants in the UK and how they feel. This behaviour brings to light how British law enforcement, as depicted in the show, controls the lives those that it considers expendable and the fairly bad immigration system in the UK for illegal immigrants.
Case Study #3 - LGBTQ+
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Title: Sex Education
Created: 11 January 2019 – present day Genre: Comedy-drama/Sex comedy/Teen drama Created by: Laurie Nunn Written by: Laurie Nunn Directed by: Ben Taylor, Kate Herron, Sophie Goodhart, Alice Seabright Starring: Asa Butterfield, Ncuti Gatwa, Emma Mackey, Gillian Anderson, Connor Swindells, Aimee Lou Wood, Kedar Williams-Stirling, Patricia Allison, Alistair Petrie, Mimi Keene, Chaneil Kular, Simone Ashley, Tanya Reynolds, Mikael Persbrandt, Anne-Marie Duff Seasons: 2 Episodes: 16 Production company: Eleven Film Original Network: Netflix |
Sex Education was praised for the way in which it handled the portrayal of its LGBTQ+ characters and relationships. The show’s LGBTQ+ inclusive storylines have become a great hit among lesbian, gay, bisexual and queer viewers who see themselves being represented in the media. Given that the show has a contemporary setting, the representation of minorities, including interracial relationships and LGBTQ+ is more important than ever. Furthermore, the ethnic diversity present in the show makes it all the most relevant to a modern audience. One of the main characters, in particular, Eric Effiong played by actor Ncuti Gatwa was praised for the touching storylines of his character. Eric is a black gay teen who grows as a person to become his true self boldly despite judgement from others, rocking a pair of heels and a full face of makeup despite his dad being worried for his son daring to be different. Eric refuses to bow down to neither the pressures of homophobia, the conservative and religious beliefs of his family or the school bullies. Viewers took to twitter to praise his character. Studies have shown that a lack of educational resources available to LGBTQ+ students makes them more susceptible to physical health risks such as STDs, teen pregnancy and dating violence. Sex Education explores the unique sexual health and relationship issues that face LGBTQ+ teens. Scott Turner Schofield, a transgender performer, author and educator, told NBC News: “I know these young viewers have such a bigger shot than I ever did at approaching their sexuality, knowing they are not the only one who feels this way, and finally with some semblance of a roadmap (a start, at least) for how to make healthy choices,” Schofield said. “This is where representation really, really matters, and I’m grateful to 'Sex Education' for doing it right and well.” The LGBTQ+ community’s on-screen representation on UK television has become increasingly widespread.
Case Study #4 - Financial Issues, Drugs & Politics
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Title: Collateral
Created: 12 February – 5 March 2018 Genre: Drama/Thriller/Crime Written by: David Hare Directed by: S. J. Clarkson Starring: Carey Mulligan, Nathaniel Martello-White, Jeany Spark, Nicola Walker, John Simm, Billie Piper, Hayley Squires Seasons: 1 (Limited Series) Episodes: 4 Production company: The Forge Original Network: BBC Two, Netflix |
Billie Piper (Doctor Who) plays the role of struggling single mother of two named Karen Mars. She financially relies on her ex-husband Shadow Minister for Transport David Mars, played by John Simm (Doctor Who), for financial support and child care. She also takes drugs and alcohol constantly throughout the show and her character highlights a big social issue in the UK: young adults in debt who suffer addictions to drugs and alcohol. Since the show never explicitly states on-screen that she takes drugs, instead it is hinted at through specific camera angles, framing and code words, allowing the show to be airing pre-watershed. Ofcom’s strict regulations allow this subtle depiction since younger children are less likely to notice these details. Although Karen does explicitly smoke on screen, which is allowed under Ofcom’s regulations and common across television in the UK. Her character represents 13.5 million people in the UK who have a low income and struggle to pay for their family and live a ‘normal’ life. There are over 2 million single parents living in the UK and statistics show that in 2017 around 11.3% of the population aged 16-34 was addicted to cannabis. This drug is alluded to in the show as “special topping” on the pizza in the first and second episodes, this represents the drug community and how consumers access illegal substances from dealers. The show also deals with British politics and presents left-wing politician David Mars, played by John Simm. David Mars is an ex-centre-left-wing MP who is pro-immigration and believes that the government should take more initiative in promoting scared undocumented, illegal immigrants to come forward and become documented. Simm’s left-wing character makes apparent the demonization of the right-wing, focusing on the lives of minorities even in politics.
Case Study #5 - Sexual Assault
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Title: Broadchurch
Created: 4 March 2013 – 17 April 2017 Genre: Crime/Mystery/Drama Created by: Chris Chibnall Written by: Chris Chibnall Starring: David Tenant, Olivia Coleman, Jodie Whittaker, Julie Hesmondhalgh Seasons: 3 Episodes: 24 Production company: Kudos, Imaginary Friends Original Network: ITV |
The third season of ITV’s Broadchurch places sexual assault at the centre of its plot. Trish Winterman, played by Julie Hesmondhalgh, is sexually assaulted. Her case seems to be taken out a textbook as Trish does everything that its recommended a survivor does, and the two protagonists Detectives Ellie Miller and Alec Hardy are there to reassure Trish that she will receive the support and help she needs at the sexual assault women’s shelter. A mental health counsellor is present and tells Trish that she can always return for more help. All of her clothes and injuries are documented by the detectives immediately. These are all things that are recommended to women by the Department Of Health & Human Services’ Ofice Of Women’s Health maximize the chances of a rape conviction. Despite bring “surrounded by other women empathetically and clearly explaining the process of collecting evidence that could help convict her rapist, Trish struggles to remember basic facts about what happened to her and isn't reassured or unburdened by explaining the specifics of the attack she endured at a friend's birthday party. And in these opening moments, the series demonstrates how even in the "best" of circumstances, the aftermath of sexual assault is still incredibly traumatic” (Kayla Hawkins - The Bustle). We later find out that Trish waited several days before reporting her case, and this is the case with numerous rape cases, wherein the women feel shame and don’t want to reach out to family or friends or the authorities in fear. Trish has no idea who tied her up and attacked her and this incredibly traumatic attack makes her understandably paranoid. Later we see Beth Latimer, mother of the young boy whose death was the subject of Season 1's investigation, played by Jodie Whittaker becomes Trish’s new counsellor. This is not an uncommon narrative, especially for 1 out of every 4 women in the UK who has been sexually assaulted. This is equivalent to 3.4 million females in England and Wales alone, according to rapecrisis.org. Statistics released in 2013 by the Ministry of Justice (MoJ), Office for National Statistics (ONS) and Home Office show that only around 15% of women who experience sexual violence actually report to the police and approx. 90% of those know the perpetrator prior to the offence, and around 85,000 women and 12,000 men (aged 16 - 59) experience rape, attempted rape or sexual assault by penetration in England and Wales alone every year, which is roughly 11 of the most serious sexual offences (of adults alone) every hour. Therefore, Trish’s storyline was and still is very much relevant to an UK audience. The show does a good job of dealing with such a sensitive topic by not showing the actual rape itself and instead, everyone believes Trish when she claims her assault. The show also shows the procedural system regarding what happens after a rape is reported. These scenes in the first episode were described by viewers are “emotionally devastating, but realistic and important.” Trish’s character is also fortunate enough to have access to Victim Support on standby when she needed it. Real-life scenarios, however, do not go as well. The police might not believe the victim’s claims despite evidence and women might not have access to facilities for support and guidance. The police on Broadchurch is supportive of Trish and believes that she is telling the truth. This positive depiction is important as it prompts similar behaviour within viewers - to be supportive and encouraging to survivors of assault. Statistics show that conviction rates for rape are far lower than other crimes, with only 5.7% of reported rape cases ending in a conviction for the perpetrator. Broadchurch writer Chris Chibnall also shows a full spectrum of sexually abusive behaviour, committed by otherwise normal men: “Too many shows depict rape in a vacuum, committed by bonafide gold-plated psychos. It allows people to relax, watching at home, and think: not me. Not anyone I know. With statistics showing 1 in every 4 or 5 women are sexually assaulted in their lifetimes, all the rapes must be being getting done by someone. Why would it not be someone you know?” (Charlotte Graham-McLay)