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.

Violetta Undone: Getting Closer to Opera By Not Making Opera

In early 2016 students at the University of Worcester were set the task of creating an adaptation of Verdi’s La traviata, a work which they knew from having seen the production by Richard Eyre live streamed from the Royal Opera House, at the Odeon Cinema in Worcester. The majority of students attested that this was their first encounter with opera and many were not looking forward to the project. This paper will describe and examine the process of adaptation and will reflect on how the mediated experience of the opera informed the final live production. It will also examine how the devisers of a new work, called Violetta Undone, considered the inclusion of musical and dramatic themes from the opera, as well as how they considered matters of relevance to contemporary audiences. The paper will furthermore consider how this process of undoing the opera not only fulfilled the requirements of the module (to learn about the processes of adaptation) but also brought the students closer to opera as an art-form. The paper will reflect on how, what was ultimately produced, not only radically deviated from what we understand as opera (as represented by the production which acted as a stimulus) but simultaneously adhered closely to the theoretical notion of gesamtkunstwerk which lies at the heart of opera theory. Additionally, questions that will be considered include: What lessons might be learned about educating drama students about opera? And how might undoing opera in a collaborative way inform dramaturgical explorations of operas?

The Glow of Unwork? Issues of Portrayal in Networked Learning Research

In this paper, we suggest that portrayal of research is often undervalued and seen as ‘unwork’ (Galloway, 2012). Portrayal is often seen as an issue that is relatively straight forward by qualitative researchers, and invariably refers to putting the findings of the study together with excerpts from participants and usually, but not always, some interpretation. It tends to be seen as the means by which the researcher has chosen to position people and their perspectives, and it is imbued with a sense of not only positioning but also a contextual painting of a person in a particular way. Yet there are an array of issues and challenges about what portrayal can or might mean in digital spaces. In this paper we argue that researching education in a digital age provides greater or different opportunities to represent and portray data differently and suggest that these ways are underutilised. For example, for many researchers legitimacy comes through the use of participants’ voices in the form of quotations. However, we argue that this stance towards plausibility and legitimacy is problematic and needs to be reconsidered in terms of understanding differences in types of portrayal, recognizing how researchers position themselves in relation to portrayal, and understanding decision-making in relation to portrayal. We suggest that there need to be new perspectives about portrayal and concept, and ideas are provided that offer a different view. Three key recommendations are made: Portrayal should be reconceptualised as four overlapping concepts: mustering, folding, cartography, and portrayal. Adopting such an approach will enable audiences, researchers and other stakeholders to critique the assumptions that researchers on tour bring to portrayal and encourage reflexivity. Researchers on tour should highlight the temporal, mutable and shifting nature of portrayed research findings, emphasising the need for continued and varied research to inform understanding. There is a significant need for greater insight into the influence of portrayal, as well as the difference between representation and portrayal. Future studies should prioritise this, and ensure that portrayal is considered and critiqued from the outset.