Capital: Case Study
Reviews and features
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 the series excellently have managed to squeeze an incredible amount into one street, one book, and then further squeeze into three hours of television. Wollaston believes that Capital is not just a brilliant allegorical portrait of London, Capital has interesting stories to tell. Wollaston also believes that Capital does not only refer to the city and wealth but also is punishable by death, Petunia's story of her brain tumour can represent something much more in the show- Pepys road, its residents, London itself has cancer- a tumour of greed and mistrust, hatred and pointlessness. In the London Evening Standard article, Travis believes the cast of Capital is brilliant, with fantastic actors. John Lanchester's novel received significant praise from critics and the TV drama is much more gripping than a drama about the property market actually sounds with relatable characters, well-drawn and a mystery that will have you hooked.
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?
Capital captures modern-day London through the ever-going contrast between economically struggling and financially stable. The lives of the Kamal family and Roger's are shown in a very realistic way by showing their everyday lifestyle, beliefs, attitudes for example Arabella complaining about having to decide which of the luxuries isn't essential whereas the Kamal family who all live together above the shop they run who are generous and kind. In addition it also portrays the prices of houses in London which are always increasing the same way the show shows it through the animated clip of prices rising. Capital also captures the Islamophobia in London/UK, when Shahid Kamal got arrested he was labelled as a terrorist for burning the Union Jack when he was younger however this was not illegal behaviour. Capital also portrays immigration in modern-day London through the story of Quentina who faces deportation as she is an illegal immigrant living in the UK.
Trailer analysis
1) How does the drama use camerawork to capture London life?
In the trailer we see a lot of crane shots of the streets of London to show the audience where the show is set. We see the streets of houses, cars, people, the families, people working etc. We also see close-ups of the postcards "We Want What You Have" being sent through the post to the characters houses which gives the TV show a sense of mystery and drama which hooks the audience. We also see close-ups of the characters facial expressions whilst they're opening the mail which again creates a sense of enigma.
2) How does the trailer use mise-en-scene to capture the family element of the drama?
The first family element we see in the trailer is of Ahmed Kamal with his son, outside of their shop, this shows us that the Kamal family are a family business who are very close which may reflect that ethnic minority households value family a lot. In the next scene, we see Roger and Arabella in their bedroom who are quite far apart which contrasts the Kamal family as Roger and Arabella seem very tensed through their facial expressions and it may symbolise how their relationship isn't passionate or even that the couple isn't in love anymore. We then see a clip of the Kamal family eating dinner at the family table, laughing and enjoying their company which portrays that happy family stereotype. Further in the trailer, we see Arabella shouting probably at her husband which presents how family life can be sometimes behind closed doors with parents who constantly argue.
3) How does the trailer introduce narrative strands suggesting tension or enigma in the 40-second running time?
Firstly, the postcards with 'WE WANT WHAT YOU HAVE' written on them as well as pictures of their houses, this creates a sense of enigma as the audience questions who is sending these postcards and why, what do they want. In the trailer we also see a hooded man taking pictures of the character's houses to which we as an audience believe is the culprit to the postcards however his identity is kept a secret throughout the trailer, which is another enigma code as it makes the audience question who is this man?, why is he doing this?. We also see a shot of Quentina in a police cell which makes the audience question what has she done to be arrested, and who is she as throughout the clip we see her happy and in a romance therefore the audience may be confused as to how this innocent person has been arrested. Finally, we also see a clip of Roger's wife Arabella shouting 'what are we going to do' in a concerning way which is another enigma code as it makes the audience question why is she so distraught and angry.
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
In scene 1 we get to see the diversity of London through the Kamal family, we also see a sense of community in London which subverts the stereotype of neighbours in London not having friendly interactions. We also get to see the gentrification of London through the characters of Roger and Arabella. We get to see the conventional representation of a conventional British middle class family through Petunia's flashback montage which creates a sense of nostalgia. In addition we see the stereotypical gender roles of females being housewives and taking care of kids and the men being in charge of the money and business being reinforced through the Kamal family as well as Petunia's flashback montage. We also see the contrast between liberal Muslim's and radical Muslim's in London through the Kamal family as well as immigration through the Eastern European builders.
Scene 2: work in the City 6.28 – 8.10
In scene 2 we see how crowded and busy London is as well as the birds eye view shot of the skyscrapers emphasises the wealth of London and the fast paced editing portrays the excitement and pace of working in London. In this scene we also see the stereotypical gender role of men only working in the finance sector and the lack of representation of females working in the finance sector as well as the finance sector in London is mainly white males which may portray the lack of diversity in such roles. Roger's boss is also German which highlights an aspect of London immigration of Europeans moving to London to take high-paying jobs in financial services.
Scene 3: “Which of those isn’t absolutely essential?” 14.00 – 15.35
In this scene we see the traditional gender role stereotype of the man being the 'bread winner' and the female gets to spend it all, we also see the stereotype of women being used for male pleasure. In this scene we also see how privileged rich middle class families are and how they're extremely materialistic. We also see this sense of a loveless marriage and the fact that Arabella only married Roger for his money and not for love, suggesting that Arabella is only using Roger for his money.
Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40
In this scene we see Quentina's narrative which portrays the other side of London compared to Roger and Arabella. We also see a black female lawyer which subverts the stereotype of predominantly only white lawyers in the media. We see how Quentina is being exploited in every way and the contrast between life for white people in London compared to black people. The use of the audio is trying to emphasise the difference between rich and poor in London and make the audience create sympathy for Quentina.
Scene 5: “What use is 30 grand?” 36.40 – 39.00
In this scene we see Roger being devasted by his only 30 grand bonus which shows how privileged and materialistic he is whereas with Quentina we see the struggle she is through and the danger she is. We also see her being exploited as she earned 300 and only gets £200 which is unfair towards her.
Scene 6: life at the corner shop 40.10 – 42.55
In this scene we do see the stereotype of Londeners not knowing their neighbours closely as we notice that Arabella doesn't know Ahmed and it looks like she has never been in that store before. We also see the difference in social class in this scene as Arabella is surprised at the generosity of Ahmed giving her the corriander for free which is something she is not used to at all as a middle class female. We also see the closeness of the Kamal family as they're all together at a small dining table eating dinner together with their mother on a skype call whereas we never see Roger's family gathered around a dining table, enjoying a meal together.
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 uses stereotypes of the white people being wealthy, this is shown through Roger and Arabella's family, we also see the stereotype of Asians working in corner shops as well as the fact that immigrants are poor and vulnerable. We see the stereotypes of women having to do all the housework and taking care of their children whereas the men work and earn money, as well as the stereotype that the financial sector is dominated by men.
Industries and production context
1) Who is the parent company for Kudos?
The parent company for Kudos is Banijay UK.
2) What was the breakthrough show for Kudos in 2002?
In 2002, the breakthrough show for Kudos was the BAFTA award-winning spy drama Spooks.
3) Watch the showreel on the Kudos website. What other TV dramas have Kudos produced? What awards have they won?
Kudos have produced TV dramas such as Then you run, SAS Rogue heroes, Tin Star which won 2021 British academy Scotland awards and was nominated for the 2020 writers guild of Great Britain award, Code 404, Two weeks to live which won the 2021 Venice TV best comedy award and was nominated for the 2020 Rose D'or for comedy drama and sitcom, Grandchester, Deep Water, Responsible Child which was a nominee for the BAFTA TV awards, winner of 2 international emmy awards and nominee for the BAFTA TV craft award and Deadwater fell which was nominated for the RTS Craft 2020 and also nominated for the 2020 British Academy award.
4) What audience pleasures does the showreel suggest Kudos productions offer?
The show reel contains many close ups of different characters from all different diversities which tells us that audiences may be able to relate to some of these characters therefore find our personal identity with them, not only this but audiences may be able to build personal relationships with these characters and be invested in their narrative on screen. The show reel also provides a sense of escapism for the audience through the shows being promoted on it.
Marketing and promotion
1) How does the programme information on page 3 make Capital sound interesting to audiences?
'One day, the street’s residents all receive an anonymous postcard through their front doors bearing a simple message: “We Want What You Have.” Who is behind the anonymous hate campaign? And what do they want? As the mystery of the postcards deepens, we learn more about this vivid and unforgettable ensemble of characters. Interweaving stories reveal lives filled with love and loss, fear and greed, fortune and envy and most recognisable of all, family and home - 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?
The programme information mentions the other shows that the director and producer worked on in order to bring in the loyal audience that those directors and producers have based on their previous productions.
3) Who commissioned Capital for BBC?
Capital was commissioned by 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?
Roger isn’t an evil banker, he’s a slightly complacent banker. He’s become used to a certain way of
life and has a self-imposed pressure to live that way. He spends 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
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Ahmed’s brother Usman, feel ostracized from it. They feel like they don’t belong and are on the
outside looking in.
6) Read the interview with Shabana Azmi (page 12). What does she say about Asian representations in Britain?
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?
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. He 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. It definitely speaks to me about where London and the country is now. 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.
1) How does the packaging use other critically acclaimed TV dramas to promote Capital?
At the top of the DVD cover is says "From the makers of Humands & Broadchurch" which attracts audiences who have watched that show and enjoyed it, who may be willing to watch Capital.
2) What does the use of design and images suggest to the audience about the drama?
The DVD packaging show all the different characters and families which suggets this show is family-orientated and will focus on the lives of these characters. Furthermore, we can also see the show does feature diverstity through the Kamal family at the bottom of the DVD cover.
3) How are review quotes used on the cover and what do they suggest to the audience about sub-genre, narrative and audience pleasures?
"Insightful and moving...a compelling portrait of modern Britain...Terrific."- This quote tells us as the audience that Capital will clearly feature the problems of modern Britian and provides the audience with a sub-genre of social realism. It also brings audiences the audience pleasure of surveillance as they find out more and more about Britain's problems as well as how the economy suffered after the 2008 recession crisis.
The DVD packaging offers the representation of London through it's famous landmarks such as London Bridge, Big Ben, the Gherkin. As well as through the characters on the packaging which shows us that London is becoming more and more diverse.
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