TV: CAPITAL case study

Alezey

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?

The Guardian review says that Capital is a “complicated” but brilliant portrait of London life because it fits an incredible amount into one street and makes Pepys Road feel like an “all-too-recognisable” London setting. It praises how the adaptation brings the novel’s range of characters and storylines to the screen while keeping the richness of the original, especially with the mystery of the postcards saying “WE WANT WHAT YOU HAVE.” The reviewer likes how it feels instantly recognisable and realistic, showing different types of people living side by side. However, it also suggests that the drama is complicated rather than simple, and because there’s so much going on, it doesn’t give easy answers, which might make it feel less straightforward for some viewers.

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?

The reviews suggest Capital is a “state-of-the-nation” drama because it uses one street to show bigger problems in the whole country. Pepys Road represents modern London, with rich bankers, immigrants, long-term residents and shopkeepers all living next to each other but in very different worlds. It shows issues like rising house prices, inequality, immigration and the impact of the financial crash in 2008, which were big national concerns at the time. By making the street feel “all-too-recognisable,” the drama captures what modern-day London is really like — diverse, but also divided.

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Trailer analysis

Watch the trailer for Capital:

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

The trailer uses a mix of wide shots and close-ups to show London as both normal and tense. The wide shots of Pepys Road make it look like a typical London street, which makes it feel realistic and relatable. Then the close-ups focus on the characters’ facial expressions, showing their reactions and emotions, which makes it more personal. There are also quick cuts between different houses which are known in London and people, which shows how everyone lives close together but has completely different lives. This helps capture London as diverse but divided.

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

The trailer quickly introduces different characters and storylines through fast editing, which suggests it’s a multi-strand narrative. The postcard saying “WE WANT WHAT YOU HAVE” acts as an enigma code because it creates a mystery — the audience immediately wants to know who sent it and why. There are also action codes, like shots of worried reactions, police presence and tense conversations, which hint that something serious is going to happen. Even in 40 seconds, the trailer builds tension and sets up the main mystery while showing that all the characters are somehow connected, making the audience want to watch.

-----------------------------------------------------------------------------------Capital in Media Magazine

Read ‘We Want What You Have’ in MM83  (p10).

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

The article states the genre ‘state of the nation’ tries 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 lofty ambitions, given limitations imposed by production, costs and schedules.

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

The article notes that the setting that 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. This is demonstrated in establishing shots at various points in episode one. Aerial shots of large chunks of the city zoom in to smaller segments, before zooming in on Pepys Road in particular, and then a single house or character.

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

The major themes in Capital are housing, house prices, immigration and the impact of capital (money) on everyday lives. The drama focuses on a single street with characters from “all walks of life” and different levels of economic security, but only top earners can afford to buy houses. Through characters like banker Roger, who represents money or “capital,” the article suggests that money is breaking up the community and breaking up social bonds up and down the country. The contrast between long-term residents like Petunia, who represents community and continuity, and new wealthy residents who rely on private services shows how wealth creates disharmony.

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

The article discusses representations by using Levi-Strauss’s binary opposition like good versus bad, rich versus poor and industrious versus feckless. Banker Roger is shown as weak and obsessed with wealth, while Arabella is presented as materialistic and focused on money. In contrast, characters like Petunia, Ahmed, the Eastern European builders and Quintana are portrayed as community-minded and hard-working. However, the article questions whether these representations are too straightforward and whether minority groups are given enough range and ambiguity. It also mentions criticism from the Daily Mail, which argued that the drama attacks banks and portrays immigrants as unfailingly good, while Ahmed’s family storyline includes Islamic fundamentalism, complicating the representation.

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

The final section suggests that although Capital is a state-of-the-nation drama, it draws on the crime genre in its opening sequence. The shadowy hooded figure creates an enigma with questions about who they are and what they want. However, this crime element has an artistic purpose, as the hidden, sinister force is actually capital (money). The drama positions the actions of the banks as criminal and suggests that money moves around the world unseen, like an “invisible hand.” By using the crime genre and the image of “WE WANT WHAT YOU HAVE” written across the street, the drama tries to expose the unseen power of capital and make the state-of-the-nation clear.

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Capital Media Factsheet

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 factsheet says the multi-stranded narrative is explored through different residents and demonstrates the “state-of-the-nation” aspect of the drama. Episode 1 focuses on Petunia Howe, Roger and Arabella Yount, the Kamal family, and Quentina Mkfesi, and their interactions reflect tensions between different cultures, with costume used to communicate character roles.

2) Focusing on the industrial contexts, how does Capital help the BBC meet its obligations as a public service broadcaster?

In terms of industrial context, Capital  helps the BBC fulfil the requirements of a public service broadcaster by informing, educating and entertaining. It reflects, represents and serves the diverse communities of the United Kingdom and accurately portrays the lives of people in the UK today, raising awareness of different cultures and contributing to social cohesion. It also provides high quality and distinctive output in line with the BBC’s public purposes set out in the Royal Charter.

3) What do we learn about the ownership structure for production company Kudos? 

The ownership of Kudos reflects a horizontally integrated company. Its parent company, Endemol Shine UK, owns a range of TV production companies across different formats and genres. Endemol Shine UK is owned equally by Apollo Global Management and 21st Century Fox, which is owned by the Murdoch family and was created as a spin-off from News Corporation.

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

Hesmondhalgh argues that cultural industries are dominated by large, vertically and horizontally integrated companies that aim to reduce risk and maximise profit. This links to Capital and Kudos because Kudos is part of Endemol Shine UK, which owns a range of production companies across different genres, showing horizontal integration. Endemol Shine UK is owned by major global companies, demonstrating how media production is controlled by powerful conglomerates. Capital, although a distinctive BBC drama, is still produced within this commercial system, reflecting Hesmondhalgh’s idea that cultural products are shaped by large corporate structures as well as creative aims.

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

The factsheet suggests Capital meets the conventions of crime and social realism by striving to represent regions of the UK with authenticity and by shooting on location to make the setting realistic. Wide shots are used to establish the location, which is key to understanding the narrative and themes. The narratives explore social issues such as economic inequalities, and immigration, which are typical of social realism. The drama also shows characters facing and sometimes triumphing over adversity, while blending humour and seriousness, which fits the conventions of both crime drama and storytelling.

6) How does the factsheet analyse the DVD packaging and what this communicates to the audience?

The factsheet explains that the DVD cover uses the same promotional images that feature in the media pack, website and press coverage, creating the recognisable brand for the audience. The silhouette skyline of London contains clear geographical markers that denote the setting, and also establish the themes of British culture and financial issues, as both the Houses of Parliament and the Gherkin are featured. The reference to Kudos’ previous productions serves to give credibility to the TV drama and is designed to appeal to audiences who may not be familiar with the BBC. The layout of the characters on the cover carries a connotation to the crime drama, with medium close-up shots of DI Mills, The Kamal family and Bogdon. The intertextual reference to a mug shot is evident here, and gently hints at the crime genre. The colour, however, seeks to draw the audience away from a stereotypical crime drama and, as yellow is not associated with crime, moves towards the contemporary state-of-the-nation representation. The quoted reviews anchor this representation for the audience. The images on the cover all break the 4th wall, and seek to engage the audience. The inclusion of a tagline, “someone wants what they have”, offers a final enigma code to establish the disruption within the narrative.

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

STUART HALL -

Preferred reading: Some audiences will accept the meaning the creators intended – seeing Capital as a socially realistic drama about life in a London community. They would understand the characters, the setting, and the social issues like economic inequality, immigration, and cultural tensions just as the show presents them.

Negotiated reading: Other viewers might partly agree with the intended meaning but interpret parts differently. For example, they could see the social commentary and cultural diversity, but feel that some events or conflicts are exaggerated for drama, or that the characters don’t fully reflect real life.

Oppositional reading: Some audiences might completely reject the intended meaning, thinking that Capital stereotypes communities or exaggerates social problems. They could feel the show presents a biased or misleading version of London life rather than an authentic one.

8) What does the factsheet suggest regarding binary oppositions in Capital?

The factsheet suggests that Capital uses binary oppositions throughout the multi-stranded narrative to highlight the difference or inequality in Pepys Road and raise questions about inequality in London more widely. Roger Yount is a clear example, as we see binary oppositions within his own character – the money-driven banker starts to yearn for a life with more meaning. Financial inequalities are shown through Roger and Arabella, and their initial highly stereotyped dialogue (“How do you feel about cedar wood cladding?”) positions the audience to understand the change in society and the Pepys Road community from a ‘normal’ residential street to million-pound properties. In the final sequence of episode 1, Roger meets Machinko in a park, and the camerawork establishes a binary opposition between the two men, who sit at different ends of the social and economic spectrum. The dialogue, however, challenges these stereotypes: Roger admits he too feels poor by London standards, and Machinko reveals he does not like the capital city, subverting the negative stereotype often associated with immigrant workers.

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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 are our notes from this year analysing the episode in class. There are also these notes from a previous year analysing the clips in case this is useful. Use this to 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.

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?

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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.

Kudos is a British independent TV and film production company that was founded in 1992. It has changed ownership a few times as part of conglomerate ownership. From 2007 to 2015 it was part of the Shine Group, then from 2015 to 2018 it was part of the Endemol Shine Group, and since 2018 it has been part of Banijay UK Productions (Banijay Group). This shows how one independent company can be owned by larger global media companies over time.  

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

Kudos has produced many TV dramas for different channels, including Deadwater Fell (Channel 4), Grantchester (ITV), Humans (Channel 4/AMC), Tin Star (Sky Atlantic/Amazon), The Tunnel (Sky Atlantic), The Boy with the Topknot (BBC 2), Gunpowder (BBC 1), Man in an Orange Shirt (BBC 2), Apple Tree Yard (BBC 1), Utopia (Channel 4), and Deep Water (ITV). The company has won major industry awards, including a Peabody Award for Broadchurch, BAFTAs, Royal Television Society awards, Televisual Bulldog Awards, and has been voted Best Independent Production Company by Broadcast magazine.

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. 

Capital, produced by Kudos for the BBC, helps the BBC meet its public service priority by telling socially relevant stories about contemporary life in the UK, showing different kinds of people, social issues and real community experiences. Public service broadcasting is about reflecting society, representing diverse communities, and exploring topics that matter to audiences rather than just entertaining. Capital does this by portraying issues like housing, inequality, immigration and community change, which helps the BBC to educate, inform and reflect modern British society as part of its public value. In other words, it gives viewers insight into real world issues and different lived experiences, which is a core part of the BBC’s public service mission.