Peaky Blinders Flashcards
(19 cards)
1
Q
Product Context:
what genres does it combine?
when & where was the episode broadcast in the UK?
who was it produced by?
who was the ‘showrunner’ of the 6 seasons?
Whats the plot of the 1st episode?
A
- Gangster, Historical & Western (W for Season 1)
- Sept 2013 on BBC 2 in the UK
- produced by Caryn Mandabach Productions & Tiger Aspect for BBC 2
- ‘showrunner’ was Steven Knight, an established screenwriter and TV producer
- plot where Tommy Shelby accidentally steals guns and Campbell has been sent to follow him and go after the Shelby’s from London to Birmingham
2
Q
ML:
genre form?
what & why those genres?
A
- PB classed as a cross-genre/hybrid long form television drama.
- has many characteristics of the gangster subgenre, but differs from other crime genres as it focuses on personal lives of a criminal family
- seen as a historical drama, represented through production designs to concentrate on specific location Birmingham 1919. (explores social/political issues of that time)
- Knight bases each season around a movie genre. Season 1 is Western. Knight wanted to ‘mythologise’ British working class lives in the way ‘Americans took 19th century agricultural workers and called them Cowboys’
3
Q
ML:
Gangster conventions that PB uses? (5)
A
- importance of family loyalty (Shelby’s are devoted to protecting & securing their family). The focus on family dynamics is familiar with US crime drama ‘The Sopranos’
- protagonist (Tommy) is a cool, quiet, ambitious antihero who uses intelligence, cunning as well as brutal violence to ascend the ranks of a criminal family (strategic to maintain their position on top). E.g., ‘That’s what I do, I think’ - Tommy Shelby
- antagonist (Campbell) is a lawmaker whose investigating the hero (Shelby’s). unusual in crime drama as the investigator threatens the status quo rather than seeking to observe it. often use brutal violence to achieve results (beating up Arthur Shelby). a clear binary opposition to Tommy
- usually a patriarch/matriarch (Aunt Polly) whose power the other characters’ orbit. (looked after the family business when boys went to war)
- commonly another gangster character, the less smart, more violent sibling of the hero. (Arthur Shelby). plays binary opposition to protagonist.
- narrative is typical of the gangster genre, power of the criminal family is threatened - by the law, other gangs - main characters must pull together or betray each other to survive.
4
Q
ML:
Intertextuality:
A
- obvious Western intertextuality in the first 15 mins. (Tommy’s ride on horse through the city streets, townspeople dash to hide when he arrives, peaceful living room that hides a bustling gambling den)
- Gangster, story of a crime family, battles with rivals. (The Godfather). narrative arc from working class to mob boss (The Godfather 2)
- ‘ruthless enforcer vs mob boss’ set up, as well as the 1920’s setting & costume. (The Untouchables)
5
Q
ML:
How it creates meaning?
- Visual Codes:
A
VC:
- clothing -> impactful, suits, waistcoats, flat caps (indicate power, status). women wear clothes that empower them (e.g., Aunt Polly wears suits, sunglasses, trench coat)
- Iconography & Setting -> Knight wanted production design to reflect the narrative tone ‘set within industrial poverty but full of energy, excitement not despair’
- Tommy’s western ride is to establish his reputation & power
- Gesture & expression -> Tommy has a backstory of PTSD following WW1, adds an emotional backstory to his posture. although he makes sure he’s strong, silent and ready for action with a lack of emotion in front of others to maintain his rep.
- Visual technical codes -> tracking shots are used to follow the characters through the streets etc.
- camera movement & editing create excitement rather than despair
6
Q
ML:
Audio Codes:
A
AC:
- Dialogue -> Tommy doesn’t speak too much but is powerful. links with his background of PTSD from WW1. Campbell is opposite, with his long speeches to reinforce his own power
- Music -> use of punk/rock music, often released 60yrs after the events to give a modern feel to a historical drama.
- the angry, but energetic punk songs also indicate the simmering emotion beneath Tommy’s calm exterior
- key musical contribution from Nick Cave and the Bad Seeds who provide the sinister theme song
7
Q
ML:
Todorov - Narratology
theory & links to PB…
A
- PB fits with Todorov’s five step narrative structure.
- the equilibrium - opening scenes, establish Tommy with great status & show the day-to-day running of the Shelby’s gambling operation
- the Disruption - mistaken theft of guns & introduction of Campbell’s campaign
- PB befits and Long-form narrative as every character seems to have their own narrative arc (e.g., Arthur’s equilibrium, disrupted by the police).
- only a few disruptions are solved in the 1st episode which encourages viewers to watch the rest of the series.
- some recognitions -> the Shelby’s know Campbell’s identity and reputation before he even arrives
- enigma codes -> often introducing new characters and narrative twists
8
Q
ML:
Steve Neale - Genre
Theory & links to PB…
A
- Neale believes genres are marked by difference & repetition
- gangster & historical dramas have a recognisable array of conventions that produce audience pleasures. Include narrative ingredients like anti-heroes, scenes of suspense & violence & costumes/location aesthetics
- also need something different to attract a new audience. PB does this by offering greater depth & complexity to the typical ‘tough guys’. it explores their PTSD etc
9
Q
Representation:
How representations may position audiences & invoke discourses:
rep of gender:
A
- knight said that he’s deliberately trying to tell stories about the ‘secret history of England’ that may be darker, more violent & subversive that the portrayed British history in mainstream dramas (Bridgeton). season 1 is focused entirely on working class people.
- has resulted in PB themed pubs, tours etc in Birmingham
- rep of men as brutal & violent is complicated by the Shelby’ boys’ experiences in the war. Fearless in person but in reality they’re suffering from PTSD.
- rep of strong, empowered female characters, challenges stereotypical female gangster roles. Aunt Polly = matriarch, Ada = rebellious daughter (seeing Freddie Thorne) & Grace = initially ‘too pretty’ for the pub is actually a cunning undercover agent.
-> reflects the female independence during WW1
10
Q
representation:
rep of class/local identity:
A
- knight were deliberately trying to offer a darker & less upper-class view of British history between the world wars.
- seen as ‘historical revisionism’, deliberate attempt to excavate alternative versions of a historical period by looking at the lives of the Lower class, women, LGBTQ, migrant people rather than the stereotypical British royalty/wealthiness.
- in 1919, Birmingham was seen as the ‘workshop of the world’, a hub for British Empire. PB represents it as a place for ambition/opportunity but also a place of dirt & poverty
11
Q
Representation:
David Gauntlett - Identity theory
A
- says audiences actively borrow from media texts to help construct their identity.
- long from multi-protagonist drama offers audiences a range of different characters for audiences to identify with. e.g., Aunt Polly, Tommy, Arthur, Grace, Ada…
- by showing a brutal yet highly stylised representation of working class Midlands life, PB could be promoting a diversity of identities rather than the upper-class version.
12
Q
Representation:
Judith Butler - Gender Performativity
A
- Butler asserts that gender is not fixed but a fluid social construct. suggests that people perform a gender role composed of clothes, hair/makeup, posture, behaviours…
- costume is crucial in PB for constructing gender & status/power
- PB wear expensive suits (upper class) with flat caps (working class), which announces their masculinity as being dominating, violent & powerful
- Aunt Polly wears expensive suits, nice dresses, isn’t sexualised. represents her matriarchal role as a catholic, within the family (powerful)
13
Q
Media Industry:
co-producers?
created by? and how did this secure funding?
distributed by?
what’s Netflix’s commitment?
A
- Caryn Mandabach productions, Tiger Aspect, Yorkshire Screen Fund. (show was 1st to receive a grant from Yorkshire screen fund to promote representation of the county.
- created by Steven Knight. he’d previously written several successful films & TV titles (‘Hummingbird’ & ‘Dirty Pretty Things’). his name was helpful for the finance of the production.
- distributed by the Weinstein Company in the USA, in the wake of the #MeToo movement, rights were sold to Netflix. (wider global audience)
- ‘telling local stories on a global platform’
14
Q
Media Industry:
significance of economic factors:
whats the BBC?
what did this mean for PB creativity?
tv as a global industry?
reputation of the BBC?
whats an adv of PB being on Netflix?
A
- BBC is a public service broadcaster & non-profit institution. meaning don’t have to worry about financing as on a license. (reduces risk, increases creativity), especially as the Midlands was often neglected by TV, has been a key area of investment for the BBC (gap in the market)
- tv is becoming more of a global industry, international co-productions are becoming common
- BBC has global reputation as a good quality media brand, where less known channels/productions are eager to collaborate.
- Netflix are a streaming service (200 mil paid subscribers in 2022), help shows like PB appeal/widen their global market, making them successful in different territories (e.g., Squid Game (South Korea), Lupin (France))
15
Q
Media Industry:
technological change on production, distribution, circulation:
what does an increase in online streaming services mean for broadcasted TV show numbers?
how many viewers did PB season 6 have in the UK? and when did it premiere on BBC?
how many playing hrs did PB have on Netflix in the 1st week?
how has tech meant that PB has been popular around the world…what has it led to on social media?
A
- increasing online streaming services means audience viewing figures for scheduled broadcast are no longer the main indicator of TV shows’ success.
- PB had 5.42mil viewers in the UK, when it premiered on BBC 1 in April 2022.
- when it premiered on Netflix in June 2022, it had 45.71mil hrs of playing time in just 1 week.
- social media has meant that fans from around the world have been able to become prosumers (Shirky), and share videos on PB that reach global audiences.
16
Q
Media Industry:
Hesmondhalgh - cultural industries:
theory & how it links to PB/BBC/Netflix?
A
- the idea that media products are purchased just once & continually have to be re-used rather than wearing out & having to be replaced. means the intellectual property & range of products using it must be sold to make a profit.
- means investment in familiar products and less experimentation (less risk & max profit)
- BBC is free from those constraints as relies on licenses, Netflix also as relies on subscriptions. both platforms need to make shows that engage audiences with exciting genres, but can take more creative risks with opportunities for experimentation to max profit.
17
Q
Audiences:
how media products target, attract, reach, address, construct audiences?
genre?
type of audiences?
A
- PB is a hybrid genre, so can appeal to fans of Gangster, Western, Historical that would enjoy the conventions being used.
- audiences may enjoy the educational purposes, lavish production design & unique fashion.
- audiences are expected to be educated, politically left-leaning, enjoy the social/political issues explored & the alternative view of British Industry
- traditionally masculine would identify with the tough, powerful male characters (Tommy)
- female viewers (especially with feminist values) would admire the strong complex non-stereotypical female characters (Aunt Polly, Grace)
18
Q
Audience:
Stuart Hall - reception theory
theory & links to PB? (3 ideas)
A
- asserts that individual audience members will interpret media texts differently according to their beliefs & values. believed there were 3 modes of ‘reception’.
1) Dominant/Intended meaning: the audience accepts the meanings/messages/ideologies of the texts producers. (e.g., viewers who agree with & enjoy the valorisation of working-class lives & history)
2) Negotiated Meaning:
audience accepts some of the meaning/messages/ideologies but reject others. (e.g., viewers may enjoy the depictions of industrial areas as vibrant & exciting but may find the violence upsetting)
3) Oppositional meaning:
audience reject meaning & formulate their own interpretation. (e.g., may find style of show off-putting, superficial & the historical accuracy wrong. may also reject the punk/rock music finding it annoying)
19
Q
Audience:
Henry Jenkins - Fandom
theory & links to PB?
what does ‘cottage industry’ mean?
A
- asserts that fandom is deeply personal & creative relationship with media products. believes that particularly genre films & TV can unite marginalised people & even be appropriated for political purposes.
- PB has been credited with fuelling a cultural Renaissance in Birmingham. Knight has spoken about a ‘cultural cringe’. wrote PB to address & ‘mythologise a geographical area, a period of history, class of people who are never normally focused on’
- has led to fans flocking to the Midlands (in full costume) to go to themed pubs, tours, educational events, art galleries, museums about the PB. was even a PB festival in Digbeth attended by 20,000 people in costume
- ‘cottage industry’ is providing fans with an extended experience beyond the TV screen (e.g., the themed pubs/tours)
- also social media groups around the world are dedicated to PB cosplay. e.g., #peakyblinders threads on TikTok etc..
- also a wealth of fan art, fan fiction available. what Jenkins refers to as ‘textual poaching’, nonprofessional producers (prosumers), sampling bigger cultural products & using them as a basis for their own creativity, then distributing them outside the network. of the institutions that produced the original text.
