| Category | Familiarities between Capital and D83 | Differences between Capital and D83 | Theory |
| Characters | In Capital there is a focus on the stories of characters from multiple different cultures. However, in D83 the main character, Martin Rauch is central to the development of the story. | ||
| Narrative | Dramatic Irony – In Capital most of the audience will be aware of the context of production and how this was based during the time of the economic crash, which is signified through Rogers disappointing bonus. Similarly, In D83, many will know about the civil war, the outcome and the impact this had on Germany. Both period dramas. | Enigmas: Episode 1 we do not know the identity of the postcard sender. The use of music also adds an air of tension to otherwise ordinary scenes in the opening episode causing the viewer to suspect multiple characters. | Todorov – Equilibrium Episode 1: Martin’s equilibrium quickly established. Job, ideology, family and girlfriend. Disruption: State kidnapping. Recognition: Learning to spy. Attempt to repair: Stealing the documents. New equilibrium: Martin’s ongoing status as a spy. |
| Themes | Period dramas use the past as a form of escapism. Part of the pleasure is knowing how events fit into history (a form of dramatic irony – the audience know elements of the future). | Capital is a miniseries – Mini-series are usually an event. They have higher production values and higher artistic values. They are usually shown at a prime-time when broadcast and usually have trailers and advertising to build up anticipation. Dominant Ideology: The series does not seem to actively target capitalism despite the fact that it is set just before a huge financial crash. | Neale and Genre – The difference comes in the form of hybridizing the genre. This is due to the way the show is adapted from John Lanchester’s novel. The show promises guaranteed meanings and pleasures as a crime drama, as social realism and as a form of satire. The mini-series adaptation of a well-known novel is a way the BBC often offsets cost of production. |
| Representation | Both represent the socio-economic and political climate of different cultures as well as in different times (1980s VS early 2000s) | Capital – Capital provides a wide range of representational areas to explore; the family, place, nation, class, ethnicity, race and issues. This fits with the promise hinted at through the choice street name. Pepys Road is a reference to Samuel Pepys the Restoration diarist. The novel aims to be a distillation of London at a crucial point in history. Negative and positive use – or subversion – of stereotypes The Kamals are a demonstration of stereotype theory. Using Dyer we can see that they have been stereotyped by bot the novel writer (Lanchester) and Peter Bowker who wrote the series (Dyer: those with power stereotype those without). You can also see how Medhurst’ theory (stereotypes are a handy initial shorthand for producers and audiences) applies here. The Kamals are initially presented as a sterotypical corner-shop owning Pakistani family. As Episode 1 continues the family begin to take on more layers and more nuance. The family are also an example of Perkins’ theory that stereotypes are based on some form of truth. Yes there are a large number of Pakistani family run corner shops. Yes there are identity tensions in the British-Pakistani community. D83 – | The narrative of Deutschland 83 can be defined as postmodern in its self-reflexive style Everything is artificial in media. Even the narrative. East Germany: Retro. “Ostalgie” East German nostalgia. West Germany: Katja Valaskivi – ‘Cool Nation’ branding; a branding that has understood how the national is also foreign and exotic. Martin is faced with the German “economic miracle” in the supermarket scene. |
| Technical Codes (LANGUAGE OF MOVING IMAGE (music, setting, props, lighting, use of camera, editing etc)) | The production, distribution and exhibition of Capital and D83 shows how audiences can be reached, both on a national and global scale, through different media technologies and platforms, moving from the national to transnational through broadcast and digital technologies. | Walter Luzzolino. Italian T.V. producer who works for Channel 4. Created the “Walter Presents” Video On Demand Service for Channel 4. Aims to bring the best of world T.V. To a U.K. audience. Deutschland 83 was the first show (2016). | Hesmondhalgh’s major points that link to Capital: Media industries are powerful factors in our lives but usually need to be recognised as profit making businesses. Kudos is a private company which works for a PSB to provide content which can be sold in a global market. Often media products seem to be artistic, anti-establishment or rebellious but this is part of the industries competing with each other for the audience’s attention (Often part of the strategy is defining themselves as cultural, and artistic and the audience expects non-conformity from the arts). Capital needs to appear artistic and anti-establishment to justify the BBC’s existence using a hypotheticated tax. The quality of the artistic product offers a socialized artistic experience where all payers of the license fee gain access to high quality cultural product no matter where geographically or financially. D83 – Hesmondhalgh! RTL is using AMC, and the Sundance reputation and reach, to access the US market. Increased potential profit. The use of genre and serialisation helps to sell the product and maintain audience. Reduces risk. Use of 80s set period drama taps into fashionable time period (music and style) and popular format. Helps to sell to international market. Reduces risk. Risk is spread by multi-national production and broadcast. The narrative twist (hero as Stasi spy) helps to sell the product as artistic and non-conformist. Reduces risk. |
