Explore the narrative structure of your three main texts. (30)Introduction: Establish industry overview. Could refer to the way in which the traditional TV industry, in common with other media industries, is facing a range of challenges – for example the rise of on-demand streaming services such as Netflix.

One of the ways in which the industry has responded is by investing in high-quality drama that often utilises a range of narrative methods that will maintain the interest of the audience.

In addition, genres such as current-affairs are also incorporating a range of narrative devices and methods in order to cultivate a wider-audience.

Luther: Series 3, EP 1, BBC1 9:00pm

Most of the narrative methods used in Luther reflect the conventions of the crime genre.

Characters roles propel the narrative – Luther the maverick cop who flouts the rules, his loyal sidekick (Justin Ripley), the enemy out to destroy him (Erin Gray abetted by George Stark).

The episode interweaves four narrative strands• The fetish killings• The Jared Cass murder (Ken Barnaby storyline)• Erin Gray’s investigation of Luther (linked to

Cass/Barnaby case)• Luther’s relationship with Mary Day)

Luther: Series 3, EP 1, BBC1 9:00pm

1. The fetish killings2. The Jared Cass murder (Ken Barnaby storyline)3. Erin Gray’s investigation of Luther (linked to

Cass/Barnaby case)4. Luther’s relationship with Mary Day)

1. Straddles two episodes. Identity of the killer is revealed, the enigma is to discover a) his motive and b) whether Luther can stop him before he kills again. Dark themes of the narrative reflect the contemporary nature of the show. Typical narrative devices e.g. the phone-call that comes too late/gets cut-off are utilised. Original twist – killer being inspired by earlier killer, discovered at old people’s home.

Luther: Series 3, EP 1, BBC1 9:00pm

1. The fetish killings2. The Jared Cass murder (Ken Barnaby storyline)3. Erin Gray’s investigation of Luther (linked to Cass/Barnaby case)4. Luther’s relationship with Mary Day)

2. Key theme here is the way in which the narrative – typical of contemporary crime shows – blurs the line between good and evil. Ken Barnaby is an ambiguous character – a good man driven to evil. Basis for the narrative – the actions of an internet troll – reflect contemporary nature of the text. This plot-line becomes the basis for Erin Gray’s investigation – so the text is equally ambiguous in its depiction of Luther, for example when he dangles the loan shark over the balcony. Narrative maintain several enigmas – not just who did it, but is Luther covering for Ken Barnaby (and would that be an act of kindness or him not doing his job properly?)

Luther: Series 3, EP 1, BBC1 9:00pm

1. The fetish killings2. The Jared Cass murder (Ken Barnaby storyline)3. Erin Gray’s investigation of Luther (linked to Cass/Barnaby case)4. Luther’s relationship with Mary Day)

3. This narrative strand is based on binary opposites and is also typical of the maverick cop genre, with Erin Gray occupying the narrative role of the character who wants the maverick cop brought to book. Representation of gender is key here – Gray is an empowered representation of femininity, though it could be argued that her portrayal has a misogynistic feel to it.

It involves a classic disequilibrium when Justin appears to have sided with Gray and Stark, yet culminates in establishing a new equilibrium from which their partnership emerges stronger. (Narrative as a test of character).

Luther: Series 3, EP 1, BBC1 9:00pm

1. The fetish killings2. The Jared Cass murder (Ken Barnaby storyline)3. Erin Gray’s investigation of Luther (linked to Cass/Barnaby case)4. Luther’s relationship with Mary Day)

4. Another narrative strand that is typical of the genre. The way in which Luther courts Mary adds to his aura of cool that is typical of the maverick cop. While some narratives in the episode are closed (the crimes themselves), the troubled personal life of the central character is an open-narrative that is used to sustain audience interest over the course of the entire series.

To sum-up: Narrative comes from genre and from character. Some narratives are closed and others open. Lots of enigmas within the narrative, binary oppositions and disequilibriums. Narratives reflect the edgy, contemporary nature of the text. (Dark is the most commonly used adjective praising TV shows e.g. Breaking Bad).

Top BOY: Series 1, EP 1, Channel 4

Again, narrative is mainly a product of genre and character.

This text combines the urban-gangster and social-realist genres (author, Ronan Bennett, saw it an attempt to explain what led people to pursue a life of gangster-affiliation).

The show interweaves a range of narrative strands, all of which adhere to the conventions of the two genres.

The narrative arcs of Dushane and Ra’nell are at the heart of the show.

Dushane – rags to riches narrative – typical of the gangster genre – has to overcome several hurdles that the narrative presents him with in order to become ‘top boy’. These are mainly structured/presented in conventional ways – for example the fact the he has to prove himself to the stereotypical Mr. Big (in this case Bobby Raikes) or the strain on his friendship with his initial partner Sully (presented as a classic case of binary opposites)

Each of these hurdles is in essence a disequilibrium that Dushane must repair in order for him to climb his way to ‘top boy’ status.

Top BOY: Series 1, EP 1, Channel 4

In the episode that we watched there is a cyclical nature to these disequilibriums – the episode is bookended by Kamali’s two robberies of Dushane – the second one creating a cliffhanger that is intended to carry the audience into episode 2.

The narrative also creates enigmas such as the identity of the snitch – putting Jem in the frame for this, positioning us to fear for the safety of a character we have been positioned to find sympathetic.

Ra’nell’s narrative is also typical of the genre – the ‘good’ character who is attracted by the lure of crime. (This was typical of Series 4 of ‘The Wire’ which focussed on youngsters on the edge of gang-life ). He becomes involved in what seems to be a more innocent form of drug-crime.

Narrative strands such as the hospitalisation of his Mum, Lisa, and his relationship with Leon are more typical of the social-realist genre. By exploring issues such as mental-health, and the shortage of positive role-models for young black males, the show attempts to put the gangster-genre in a social context, rather than simply presenting it as an escapist, glamorised, vicarious pleasure for the audience. (But it does this as well).

Panorama: jobs for the boys: BBC1 8:30pm13/5/13As a presenter-led current affairs investigation, the role of narrative here is very different to Luther and Top Boy.

Essentially narrative is used in order to – create a sense of interest and momentum within the show; to humanise and bring to life an issue that could be incredibly dry and statistical. By prioritising human-interest stories – and being presented by celebrities rather than recognised journalists – the show has faced accusations of having dumbed-down, but the producers respond that they are constructing shows in ways that makes them relevant and likely to engage the attention of a wide audience.

Panorama: jobs for the boys: BBC1 8:30pm13/5/13Sol Campbell’s role in the narrative is to anchor the investigation – he is on a quest to find answers to the question of why so many young black males struggle to find employment. At various points we see him travelling in taxis, and watch him ‘researching’. Such scenes are used to add credibility to his role but also to give the narrative a sense that an actual investigation is being carried out.

The show interweaves the stories of four individuals who offer different perspectives on the issue. He intervenes in their lives – offering them opportunities they might otherwise have been denied. These give an extra visual dimension to the investigation.

Of these narratives, some close on a positive note – others don’t. This reflects the complexity of the issues – there is no simple solution or explanation

Narrative: Drawing This Together

To draw all this together and make it manageable for the exam:

Condense the key ideas from each text. For Luther this means comment on the way the narrative combines multiple narrative strands, some of which are closed, others open. These mostly adhere to generic convention, and the dark nature of the narratives – morally ambiguous characters, sexual themes, topical issues such as internet trolling – reflect the contemporary nature of the text. Narratives usually involve central enigmas, and disequilibriums that need to be restored. Narrative is often a product of character – e.g. the binary opposition between Luther and Erin Gray.

Top Boy – narrative is essentially a product of genre (the rags to riches narrative) – narrative presents hurdles that Dushane must clear if he is to make it ‘top boy’. This involves the conventional use of enigma, disequilibrium, binary opposites.

Panorama – narrative functions to engage the audience emotionally as well as intellectually. Human interest stories bring the issue to life. Campbell attempts to ‘fix’ the narrative of each individual bye helping them to overcome work. Overarching narrative is his journey to investigate the issue.