The show was first broadcast on Channel 4 in 2015. It acquired over 2.5 million viewers. This was Channel 4’s biggest launch of a mid-week drama in over 3 years. It ran for 3 series, finishing in 2018.
Channel 4 is publicly owned (owned by the state) and commercially funded (funded through advertisements).
From Channel 4’s website; “Channel 4 was created to be a disruptive, innovative force in UK broadcasting.” “We have a unique public service remit to represent unheard voices.”
No Offence was broadcast on ‘France2’, the public service broadcaster. It is part of the state-owned France Télévisions group. The show was first broadcast in February 2016, with 5.46 million viewers.
No Offence is produced by ‘AbbotVision’.
‘AbbotVision’ was the independent producer of Shameless (set in Manchester, the programme ran for eleven series and aired from 13 January 2004 to 28 May 2013, it was released in many different countries).
The shows creator ‘Paul Abbott’ said, in a 2017 guardian article, said that his previous project Shameless “Became too hysterical. I was glad to see it off”.
(Steve Neale) No Offence uses the same genre conventions of Shameless, being a ‘skittish’ show which provides its comedy elements through ‘profane anecdotes’ and ‘rat-a-tat laughter’. Linking to how creatives stick to the same or similar conventions as a way of building up a loyal fan base who will continue to watch and consume
Contains all of the codes and conventions of a police drama —> Caution tape, missing people, sirens.
Many different narrative strands that help move the main plot line along. Example: The elderly woman accusing her grandson, Down syndrome man talking about his relationship.
Perhaps the appeal to an international audience is a deliberate strategy. Not only representing the working class British area of Manchester, the programme represents the polish community in the UK through the female protagonist being from a Polish background and also the use of the language. These identities are also used as a selling point internationally through the appeal of difference.
Social Realist films = Films that emphasise the link between location and identity.
National style but is also popular in Europe
The Killing (Forbydelsen, Denmark/Germany)
Søren Sveistrup, series creator, worked closely with lead actress Sofie Gråbøl, who was stunt casted to aid marketing for the series, throughout the writing process to develop her character.
Danish is the official language in Denmark. It is spoke by approximately 6 million people worldwide.
The show was originally released in 2007, in Denmark on ‘DR1’ a channel under the ‘Danish Broadcasting Cooperation (DR)’.
Produced by DR and German company ZDF, the police drama was created and written by Søren Sveistrup.
This allowed more opportunity for global networking and international release, bringing more viewers and therefore, money.
Following the global success of the show after being released by BBC4 for viewing in the UK in 2011, production of American and Turkish versions took place.
Alike to No Offence, The Killing was designed to exploit the economic possibilities offered by a global market. However, the shows social media presence wasn’t wide spread, only having a Facebook account.
Sarah Lund (the protagonist) is presented in both a ‘feminine and masculine sense’, she follows the stock character of the hero and is a familiar detective character.
Representations
Female protagonists (Sarah Lund in The Killing and Viv and Dinah in No Offence) with authoritative power and autonomy in high up detective roles at the forefront of both stories juxtaposes the binary norm of men dominating these positions in society or how society perceives how being ‘tough’, ‘masculine’ and showing strength are particularly male traits. Judith Butler expresses how society creates an identity stereotype for which we fall into based on our biological sex which codes for our masculine or feminine gender identity. Gender is performance and is fluid, not fixed. These representations subvert the need for a male detective lead.
