Through Class Darkly: Class in the British TV Noir

Class has always been at the heart of the television crime drama. Whether it is the post-war paternalism of Dixon of Dock Green (1955 – 1976), the harsh social realism of The Sweeney (1975-1978), or the almost mythical evocations of Britain in Heartbeat (1992 – 2010) and Midsomer Murders (1997- present), class and crime have always been seen as being inextricably linked. Since the 1990s, the British crime drama has been influenced by successive waves of cultural imports from, firstly, the US and then from Scandinavia. There is now a recognisable ‘genre’ for what we might think of as British TV Noir. Beginning with shows such as Cracker (1993 – 2006), Prime Suspect (1991 – 2006) and Messiah (2001) and continuing with dramas like Red Riding (2008), Southcliffe (2013) and Hinterland (2013 – present), the British TV Noir employs narratives and stylistic tropes that might usually be associated with the cinema of the 1940s. Although drawing influence from high profile shows such as Twin Peaks (1990 – 1991), Millennium (1996) and (latterly) The Wire (2002 – 2008), CSI (2000 – present) and The Killing (2007) these British Noir shows also articulate the nation’s shifting class system. As Susan Sydney-Smith has ably demonstrated, the crime drama is “historically contingent” (Sydney-Smith, 2002, p. 5) and shaped by the surrounding socio-political, as well aesthetic, context. To this end, this chapter traces the depiction of class in three key crime series – Prime Suspect, Red Riding and Southcliffe - and explores how social class, and more importantly, its changing face provides a constant background to the narratives and characterisations. These three texts were each produced at pivotal moments in Britain’s relationship to class – Prime Suspect was shown 6 months after Margaret Thatcher vacated office; Red Riding was produced in the midst of the global recession in 2008 and Southcliffe was made in the shadows of stringing welfare and immigration reforms. These texts span three successive political administrations and over two decades of social and political change. Understanding the relationship between criminal activity and class in these dramas however is far more complicated than simply reading the historical context through the text. Commensurate with its cinematic incarnation, TV Noir is both reflective and productive, employing visual and narrative tropes to manipulate, as well reflect, its audience’s moral and social positioning. The picture that emerges from an examination of class and the British TV Noir is one of suspicion and discontent. As Andrew Spicer suggests (with reference to British cinema) the Noir sensibility both depicts and critiques a society that it sees as being “class-ridden, racist and misogynist” (Spicer, 2002, p.202). This is certainly the case with the texts that are being examined here, as social positions and taxonomies are constantly being redefined and renegotiated.

Using Information, Metrics and Developing Business Cases for L&D

The second theme of this book concerns L&D’s ‘Contributions’, specifically how L&D professionals articulate, communicate and demonstrate value that it brings to the organization. Specifically, Chapter 3, titled ‘Using information, metrics and developing business cases for L&D’, discusses how L&D professionals can do this using the business case as a vehicle. The business case is a tool that L&D professionals can use to show how new L&D initiatives can benefit the organization and its stakeholders. The value of such benefit can be ‘articulated’ quantitatively and qualitatively. Chapter 3 adopts a holistic approach in developing a business case. L&D professionals must be competently knowledgeable about accounting and finance but without the need to be experts – as their expertise lies in L&D. Therefore to successfully complete a business case, L&D professionals need to form teams comprising the right members (depending on what the business case is about). The political realities that are associated with the development of a business case can be important considerations. How well L&D is able to ‘sell’ a business case depends on how well it is framed, usually either as a problem or opportunity. We then discuss the information, data and metrics required to build a typical business case, specifically in terms of identifying the benefits and costs. The chapter concludes with some suggestions on how the findings from the business case can be presented in infographics-inspired form.