Revision of narrative methods in Luther, Top Boy and Panorama

1. 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.

2. 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)

3. Luther: Series 3, EP 1, BBC1 9:00pm
1. The fetish killings
2. 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.

4. Luther: Series 3, EP 1, BBC1 9:00pm
1. The fetish killings
2. 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?)

5. Luther: Series 3, EP 1, BBC1 9:00pm
1. The fetish killings
2. 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).

6. Luther: Series 3, EP 1, BBC1 9:00pm
1. The fetish killings
2. 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).

7. 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.

8. 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).

9. 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.

10. 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

11. 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.