Panorama documentary explores rise in UK hate crimes

Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West, Ben Goldstone &
Nikon Ahamed
Contextual Analysis 2 - Panorama
https://www.youtube.com/watch?v=yetFgoAkrGE&safe=active
Hate on the Street is a documentary, where Panorama investigates what is happening on
the country's streets. With exclusive access to the government's new crime figures, the
programme reveals that race and religious hate crime is highest since 2008. Reporter Livvy
Haydock travels the country meeting victims and perpetrators to discover what is causing the
rise in these hate-driven crimes.
Lauren Rosenfeld - camera work
The documentary begins with a series of pictures of racial slurs
in public places, phone footage of attacks/CCTV footage,
extreme close ups of a victim of an attack and a few
interviews. These are used to entice the audience into
watching the full documentary, as they are short and engaging.
After the introduction, there is an establishing shot of ships and
an over the shoulder shot of the presenter to introduce who will
be walking us through the documentary and the location she is
in, which is Dover. This is followed by long shots of people
walking around the street and extreme long shots, showing to
the audience this town is a primarily British area, which is
supported by the shot of a row of Union Jacks. There is then a
stark contrast to a barbed wire fence as the presenter talks of
a ‘battle of immigration’, which connotes danger. An extreme
long shot and pan is used to show the extent of the fence.
Another person's footage is then used of a protest taking
place, which is shot using a handheld camera, providing an
unsteady/unsafe atmosphere, and showing the audience a
new perspective. The footage shows extreme long shots to
show the amount of people protesting and switches to a close
up of flags to show the audience what is on them. This is
followed by a mid shot of the presenter, in order to show two
sides of the fence, metaphorically stating that immigrants are
put on one and British people the other.
The presenter then states she is ‘on the road’, leading to
several shots in the car, ranging from over the shoulder to
extreme close ups, to show to the audience that she is going to
a new location. The close up expresses how serious she feels
on the issue. An establishing shot is used of a run down castle,
establishing to the audience a location change, stating that she
is now in Dudley. Here, several long shots and mid shots are
used similar to the location in Dover, however this time there

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more ethnic people are seen, as the presenter states most are ‘foreign born’.
Extreme long shots show the presenter walking to a new
location, and she is tracked through the school. A long shot is
used of kids in class, showing they are being taught and a
close up shows the kids interest in studying. Here, a safe and
warm atmosphere is created, which is enforced by the use of a
tripod. A close up is used, with the woman only in focus,
stating her relevance in this documentary. It is then cut to a
long shot of the family eating showing to the audience that
although they are classed as foreigners they are a normal
family. This contrasts to what is being said about last year,
when the boy was attacked. Extreme long shots are used
showing the surroundings are dark and it is raining. This is
followed by a slight reconstruction, where there are shots of
the estate with graffiti. The presenter and boy are tracked from
behind, giving a sense that they are being followed and are
unsafe. Another extreme long shot is used to show the scale of
the area, when ‘20 youths’ attacked. The front tracking is also
unsteady, showing the danger they are in. There is a cut to an
extreme long shot from being a fence, which connotes that the
two are being watched, followed by several long shots of the
estate showing it is an isolated and trashy area. These shots
help the audience to piece together the story and put
themselves in the victim's position. Shallow depth of field is
also used here of the victim, where the camera focuses on the
person only, with the background around blurred. This is used
to show the boys emotions and make the audience
sympathise. This is followed by several shots of the area
creating an eerie atmosphere, for example, there are close ups
of barbed wire, litter and abandoned objects, further connoting how run down and dirty the
area is.
A close up of a street sign is used, signifying another location
change - Wrens Nest. An extreme long shot and tracking of the
presenter is used, showing the surrounding area is rough. An
establishing shot is used of a pub, starting a new location. Mid
long shots are used for the interview, to introduce three more
people. Mid shots are used, showing the body language and
hand movements of the men and expressing their
anger/frustration of the situation. Followed by a close up, when
talking about the seriousness of the issue. An extreme long
shot is used to state the end of the location.
A high angle states a new location. In the new location, the
interview is shot with a tripod, as the person being interviewed
is a professor, and using a tripod shows professionality. Two

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shots are used with this interview, to show both their reaction, and close ups
of the computer screen shows the graphs for the audience. A
long shot is used, stating that the presenter is leaving the
location. More phone footage is used, which gives the
audience a better insight. We are then introduced to a new
person through a close up, in the centre of the frame, showing
their significance, followed by a mid shot, showing body
language, to a close up for the emotions when stating the racial sluts and lastly a long shot.
This is done three times within the documentary for three different people, all stating their
stories on how they have been a victim of racism.
An establishing shot shows the audience a new location. Low
angle shots are used of a football game, showing the skill of
the players. The audience are then taken to a new location - a
playground to help the audience visualise what happened to
the victim. Long shots are used to show the atmosphere as
dark. A two shot is used of both people in focus, showing their
importance. When the man states racial slurs a close up is
used to show his emotion. We then cut to extreme close ups of
the victims scars, this shocks the audience, and shows the
extent of the injury. There are then a mix of shots, from long
shots to mid shots of the presenter walking, stating that she is going to a new location.
A shallow depth of field is used, of a police hat, which
establishes to the audience an authoritative figure, and a new
location. A tripod is used again, which is professional, as they
are interviewing a chief constable. Mid shots and shot reverse
shots are used in the interview, which create a steady
atmosphere. This cuts to a close up when talking about
serious issues, showing the importance of the issue. More
phone footage is used, giving the audience another
perspective. We join the presenter in the car again, stating
that she is going to a new location, which is followed by aerial
shots, showing another heavily diverse town. Another person
is introduced, through high angle long shots, which gives the
sense that they are in an unsafe atmosphere. A shallow depth
of field mid close up is used, showing that this woman has
important points to say, and that she should be taken
seriously. Whilst she is talking, there are shots corresponding
to them. For instance, there are long shots of people smoking,
kids playing and busy streets. As these are long shots it

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connotes that they are keeping their distance and there is
danger.
There is then a long tracking shot of the presenter, to a new
set of people. There is an instant close up of a masked man to
shock the audience immediately. Long shots are then used
showing the men’s hand movements, connoting that they are
violent men, and that the audience should keep their distance
from them. Lastly, a series of shots are used from extreme
long shots to mid shots of the first boy who was interviewed.
Close ups are used, to show the emotion of the boy and the
trouble he has gone through. An extreme long shot is used of
the boy and his mother walking away, to end the documentary
on a despondent note.
Sound (Millie West)
Panorama is an informative documentary style company who aims their videos and
content at audiences around the ages of 16 and above. This may influence the
choice of mode of address used by the host and other featured participants.
There are many different forms and types of sound used in the media production,
‘Panorama - Hate on the Street’.Towards the start of this formal documentary, the
clash of a symbol is heard. This is type of incidental, and non diegetic music. (Sound
that has been edited in during the post production stage and cannot be heard by
characters, as it comes from out of a text's own world) The use of the symbols as
well as the beating of drums both help to symbolise the opening and start of the
short documentary.
The general pattern for the most part of the
documentary consists of flickering between our host
‘Livvy Haydock’s narration and the interviews that she
carries out. All of the narration that is incorporated in
the production is non-diegetic. (meaning mentioned
above) In contrast, all of the interviews that are shown
in the production are synchronous and diegetic.
Synchronous sound is the type whereby a noise
matches an action, which in turn creates a realistic
atmosphere. Diegetic sound is the opposition to
non-diegetic; this means the sound can be heard by other characters and comes

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from a source from within. As briefly mentioned, the use of
synchronicity and diegeticicity help to aid the realism and importance
of the real situations that victims have been faced with and the
unfortunate ongoing occurrence of hate and crime on the street.
During the course of the narration and interviews, sound bridges are used. These
are images that are shown as part of the production in parallel to types of sound
recorded either independently or as part of an interview or
narrative scene. These images tend to be relevant to the
sound heard. An example of a sound bridge used in this
documentary is when a former victim of a hate crime is
showing his scar from the incident. Whilst he continues to
talk images of his injury, obviously quite recently after the
attack happened. The camera is them focused back onto
the victim and Haydock. Sound bridges help to further aid
the audience in terms of detail and information a topic, it can
make a production both interactive and engaging to watch.
Verisimilitude is used on a number of occasions. These are
pieces of sound that are used to make a media production
seem realistic. Namely examples include the sound of
boats, seagulls, public noise in a busy area and general car
noises, which all help to add a sense of realism into the
production. Some of these forms of verisimilitude are synchronous, meaning that
they are heard intime with an action, whilst others are not; yet all are diegetic as all
of the sounds recorded can be heard by characters in the production and they come
from within a text's own world.
Incidental music is one of the largest forms of sound used in this documentary.
Incidental music is that of which is played during dramatic programmes to help add
and create atmosphere and feeling in a scene. Some of the music used is intended
to create a tense, eerie, gloomy or dangerous atmosphere in a scene. By changing
the music and therefor the atmosphere of a scene, a producer and editor are able to
adapt any audience's feelings towards a piece of media. This can be done through
the pitch of the music. For example, a low piece of music can create a tense or
gloomy atmosphere. The low music can also foreshadow something negative, like a

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sad story, which is one of the scenarios that incidental music is used
in this production. The types of instruments used to create the
incidental music also plays a huge role in the effect that it can have on
an audience, for example the use of a piano, or the use of a lower key can create a
feeling of danger. Moreover, a violin can create an intense feeling of eeriness. The
speed of the music can also influence the effect that it has on the audience, for
example slow music may create an unknown and
suspicious atmosphere, whereas faster music may
create a tense and at the edge of your seat kind of
atmosphere. An example of when this music is used is
in when individual storytellers are explaining their hate
crime experiences.
In contrast to the negative incidental music used, some more positive music is
incorporated into the documentary. Chirpy incidental music is used in a shot whereby
there are many people in a public area. This music can represent the busy buzz of
the location and make the audience feel as though they are part of it. It gives a
positive vibe and lifts the atmosphere of the scene when the music is played. At a
separate point in the documentary, just after a scene where low music is used, to
create a somber atmosphere, dub-step type music is incorporated to play.
Considering this music is more upbeat, again a positive atmosphere is created.
Finally, when the is a focus on a football pitch, the use of more positive incidental
music is established. This may be due to the fact that as a sport, football is
associated with fun - people enjoying themselves, as well as laughter and people
happiness. This then means that there are positive vibes projected from the
documentary - as a result of the music - onto the
audience and the atmosphere. Most people are able
to relate to football and so the use of upbeat music
rises the general atmosphere as many viewers and
audiences are able to relate to the subject of football
and good music.
There are many different modes of address used
throughout the production. One of the first is when our
host Haydock, speaks directly to the audience. We
know that he is passionate about what she has to say,

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due to her use of gesticulation. She is walking through a school that
educates polish students at the weekend and we can really feel her
enthusiasm by her choice of words and tone of voice.
The fact that she is walking through the school at the
current moment that the weekend school is in operation,
adds to the realism of the situation and documentary. This
uses synchronous and diegetic sound methods.
There are many different examples of mode of address
that are shown throughout the documentary using
independently recorded hate crime evidence - filmed by
the public. One example is when video evidence of hate
on the street is shown.The video consists of a man on a
bus shouting and screaming over the edge of the barrier
on the second floor of the vehicle. The tone of his voice is
evidently angry and annoyed, and this is also explicitly shown through his choice of
words and colorful language. A second example of mode of address used in the
documentary is when another piece of public filmed evidence is shown. The
synchronous and diegetic piece of media shows a man on the streets of east London
shouting and screaming at people who are assumed to
be in front of him. His use of swear words, gesticulation
and body language (leant forward and constantly moving
about) all imply that the man is extremely angry, and it
quickly begins to create a silencing atmosphere and
make the audience feel tense and on edge.
There are some synchronous and diegetic interviews
shown throughout the documentary that have non
diegetic, low key music incorporated in the background
of them. Yet in some cases, this is not the case, and the
only sound that can be hard is that of asynchronous and
either the interviewees or hosts soul voice. One of the
main times that this happens is when one of the
interviewee’s are reading and explaining the horrifically
increasing statistics regarding hate on the street. In this

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instance, no extra incidental music is added to emphasise the man's
voice and the awful facts that he is announcing, and no extra noise is
needed to help enforce the importance of this topic. The use of
asynchronous sound is to enforce realism. That even though these terrible crimes
are occurring in society on a regular basis, life still goes on and ordinary London life
continues.
Another form of sound used in this production is voice
overs. During an interview with 3 youths, by a set of
garages in East London, Haydock asks them a series of
questions and as they begin to answer, a small piece of
text appears at the bottom saying ‘Actors Voices’. The
voice over would have been the exact language and tone
used by the boys when they answered the questions
directly. The voices of the actors voice represents that of
the interviewee’s, and therefore there voices sound quite
common. They use a range of harsh language and try to
emphasise their points through the use of gesticulation. It is evident that they are
truly passionate about the subject.The use and need of the voice overs is to hide the
interviewee’s true identity. Wearing bandanas to cover their faces also aids this
protection of identity.
To end the documentary, there is an interview with one of
the victims of hate crime This synchronous and diegetic
interview is extremely monotone, which represents how
upset and sad they are about the atrocities that they have
faced, regarding the hate that they have received. The
use of their monotone voices creates a somber mood, and makes the audience feel
sorry for the victims and all of those who have been affected by the crime. The quiet
yet deep incidental music also enforces this low atmosphere and mood that is
spread to the audience.
The credits are accompanied by some non diegetic sound
for drama. This low and light piano music leaves the
audience thinking about the informative and horrific
content that they have watched and it makes them begin

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to question their own personal viewpoint on the topic. It leaves them
feeling somber and terrible about the situation that they have learnt so
much about.
Ben Karrass - editing
The episode start off showing pictures of examples of
different hate messages on the street. Editors start the
episode like this as it can give a good introduction on what
is going to be going on in the episode, A clip of fighting on
the bus is also included as it can engage the audience with
what things are happening in the world. Hate on the streets
have risen over the past couple of years and as the editors
add pictures being zoomed in it can add effect to the
viewers. Editors zoom in pictures at the beginning as it can
make the audience feel as if they need to view the images
as they get bigger. Zooming in on the hate messages can
also emphasises the effect it can have on people who may
be living in these areas or people who are living in england
who are polish or muslims etc. This can scare the audience
as it seems as people think others who weren't born in the
country deserve to live in england when this is not the case.
One picture in the documentary includes a swear word. The
editors blur this out as it's not suitable and it unacceptable
behaviour. The words can’t be used on Tv during the hours
of viewing eg watershed, because of this they word must be
blurred as it's inappropriate and will not be allowed to be
viewed on TV. During the documentary not of different cuts
are used, mainly fast or slow cuts are produced as the editors don't need to make
the documentary too complicated for viewers. There is also parallel editing
throughout the episode, editors do this to give the audience an understanding of a
story being told. Using parallel editing will make the documentary feel more
meaningful to watch as you can view what actually happened to people who are
telling stories of their past on hate on the street.
The editors use different cuts to view images and videos on attacks in the past.
When the editors pu the attacks on the episode it will be able to show the audience
that the people who filmed the fight filmed on a different device as the video doesn't
fill the whole screen.

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Blurred face of victim are viewed in CCTV footage as the people may
not want the public to see their identity. However at the bottom of the
screen the editors have included a note specifying that the footage is
in fact CCTV this shows the audience the source where they got their footage
from.This is for their own safety so the editors need to
take this into consideration and blur their faces. The
editors need to listen to what the people want as it's their
identity. Another example of blurred faces in the
documentary is when the interviewer is interviewing
people involved with different attacks. Their faces are
also blurred as they don't want the public to recognise
them. Not only do people want their faces blurred but the
attackers also have their voices narrated by actors as
they don't want any of their identity to be leaked on air as
the show will be broadcasted on TV to the public. As their
voices are narrated over the editors need to specify this
and they add a note at the bottom of the screen explaining that it's an actor's voice to
hide their identity and its not them actually speaking. People are not the only things
that editors had to blur, number plates are also included as people don't want their
number plates to be leaked on national TV. As this can be dangerous because
people can access personal information with just a number plate to editors blur them
out to keep their identity safe.
Narration is used throughout the whole episode of panorama as people are telling
the interviewer different stories. Having narration during a documentary is good as it
can give a better understanding to a story, The
editors would show clips or even a video of actors
reenacting the story, as the actors do this the
viewers would get a better understanding of the
story as they are being shown what happened when
it's being told. Narration is also used when showing
locations as it can relate to the audience if the
attacks may occur in their areas.
As the logo is shown after an introduction of the
episode it is simple as it wants to catch the
audience's eye easily. The logo is behind a blank
black screen meaning that the only thing they can
see on the screen is the logo to catch the audience's
eye. The logo zooms in to show effect to the
audience that this is a serious episode. The
simpleness of the logo makes it show the audience

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that its formal and important. When the show introduces the
interviewer it shown her name and occupation at the
bottom of the screen to allow the audience to
identify who she is and what she has to do with the
show. This is also occurs when showing a new
location, at the bottom of the screen it shown the
source where the location is recorded or even where
the narration is recorded. For example, while the
interviewer is narrating, at the bottom it states that
the source where it is recorded form is a home
office. The editors also try and get the audience
involved with panorama and a talk about the subject
of hate on the street. The editors do this by adding a
hashtag during the opening of the episode to show
that the audience can use it to talk to others who have watched the episode to see
other peoples views on the situation.
Editors have added suspicious music to scenes which contain serious stories as it
can impact the audience and make them feel more aware of the story being told.
Editors have to always make sure that they add
music in the right places of the documentary to make
sure that it works and has an impact towards the
audience. As the interviewer interviewed different
people throughout the documentary the people who
were interviewed were recognised as their name and
occupation was shown at the bottom of the screen.
Their names were in capital letters to allow the
audience to spot their names quickly. Furthermore next to their name and occupation
there was also a logo representing the panorama series to show that these people
being interviewed may work for the company.
Some clips that may be hard to understand have got
added subtitles done by the editors to allow people
to understand what he is saying and what message
they are trying to get across. Videos also include a
note at the top of the screen, this includes where the
clip was taken and what date to show the audience
what areas these hate crimes are occurring.
Computer logos are blurred out as it can cause
copyright over the company that owns the logo.

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The credits of the panorama episode are simple and
fast that includes the company log to add copyright
to the show, the logo is shown at the end to show
the company. The credits have nothing behind it and
just contains a black screen with white writing, this
allows the show to keep the formal layout and to
show the audience that the matter of the show is
serious.
Ben G mise en scene (Colour design, costumes, decor, props) location and setting

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Mise en scene (Lighting, make up, location/setting both of us) - Nikon Ahamed
Lighting
This episode has no external lighting being used
and you can see it by the quality of the product
in general which though looks professional, with
good camera positioning and a variation of
shots being used, lacks in the lighting
department. The only element that is easily
noticeable is the use of the weather and natural
light to emphasise the feelings of the scenes
specifically as in nearly all scenes where the
victims were storytelling their events the weather
was cloudy as if it was about to rain to
emphasise pathetic fallacy. This dull and dark
weather creates a better pace as it fits the

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scenes and their stories as it is on racist attacks mostly.
Seen as the lighting is natural, the ending
product will reflect realism and this is also how
the product has been recorded. At 3:57 the
scene being shown for example is a family
gathering and seen as it is an enjoyable
moment, there is high key lighting with bright
colours being used to show the family's
innocence. At 24:01 we can see that in this
scene the location emphasises the low key lighting as it looks like they are in an
abandoned place emphasising the negative sentiments the people being interviewed
have towards immigrants in this case.
Make up
There is no evident use of makeup in this episode and this links to the lighting use as
the producers tried to leave the product as natural as possible, though, some
foundation and light make up has been used on the interviewer to avoid the
reflection of the light from being seen on screen and this is a common use of
makeup in digital products as it makes it look
more professional as if there has been put more
effort and detail on it.
Location/setting
The locations being used are clearly natural,
on-street and urbanised locations in the suburbs
where the average people live, therefore the population living there will be for the
majority, middle class with an income that allows to live them with some disposable
income at the end of each month. This is why this documentary is aimed at them as
racist attacks are more likely to happen on this type of people as they are the ones
who come from outside Uk to settle up and try to have a new life in a different
country. Likewise, the community of people this documentary is targeted at may be
somewhat related to the lifestyle of those who were interviewed during the
documentary meaning that the audience may get involved more as they feel like it is
more about them.
Theories
Uses and gratifications - Ben Karrass
Uses and gratifications theory is an approach to understanding why and how people
actively seek out specific media to satisfy specific needs. An individual may have
different needs such as: personal relationship, these are people that watch the

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media to fulfill their needs for companionship and to form relationships
with others. Another need is personal identity where people would
watch content to find out more about themselves and to relate to the
media. Lastly it includes surveillance as it will allow people to find out about things
going on in the world that may relate to the people watching.
This show can brings out surveillance to the public as it educates the viewers on
things happening in the world at the moment. It will also allow the audience to see
where attacks are happening so they can feel safe or to know if they need to be
aware in their area of residence. The show also fulfills the need of entertainment to
the viewers. People can interact with each other using social media. The show fulfills
interaction via social media to allow people to talk to others based on the episode of
panorama. This shows that personal relationship is also involved in this documentary
as viewers can meet people via social media and interact with them.
Decoding - Ben Goldstone
The audience is both the sender and the receiver of the message. Tv producers
seek to audiences to find out what people enjoy the most for tv programmes. It helps
producer to write a script for a tv programme because they know what the audience
want. Once the TV programme is created the audience provides feedback to the
producers resulting in the producers to then continue to produce what they were
doing or create something new that they think the audience will like. Decoding is a
very helpful process because the producers want to make something that they think
will make good money so the feedback they get from their target audience helps
them in so many ways because producers need to focus on entertaining people.
When a message is meaningfully decoded it will then serve its purpose to either
inform, persuade, entertain or restrict the receiver with a very cognitive, emotional,
ideological or behaviour consequences.
The audience decode the meaning depending on what they feel about the tv
programme and think about it. Along will how they have lots of great technologie with
them to use. Stuart hall suggests that there are three ways the receiver can decode
the message, being a dominant reader which means when the receiver accepts and
reproduces the code to the producers, negotiated reading when a code is broadly
received but only partially shared with the producer and also oppositional reader
which means when the receiver understands the reading but rejects the code.
Encoding - Nikon Ahamed
Encoding involves the theory invented by the theorist Stuart Hall who in 1973 stated
the theory of Encoding and Decoding. Based on the theory, as the audience

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engages with the media text he/she will understand a particular text
accordingly to their social information and state. Therefore the
producer will want to include certain elements to make the
viewer/consumer more engaged with the text which is part of Encoding as producers
are the ones who want to convey their messages to the audience. When the
message of the product gets encoded in the product it will then get delivered to the
audience when consuming it and it’s the producers’ job to make the message easily
understandable as well as cognitive and compelling for the audience.
For example, at 11:38 we can see the way in which the camera angles have been
set and used made the whole message that the producers are trying to imply easier
to consume for the reader; in this case the mixture of shots and close-ups are there
to emphasise the feelings of the victim being interviewed and then making the
audience understand that the problem the documentary is issuing is actually a key
problem that’s affecting many people and that needs to be taken into consideration.
This applies to other instances such as at 4:38 where the viewer can clearly see the
feelings and emotions of the woman who is being interviewed which gives them the
message the writer is trying to convey.
Moral Panics - Millie West
The ‘Theory of Moral Panics’ was invented by a man called Stanley Cohen (1972).
This was the idea that a piece of media would focus on the negative aspects of a
subject or story and exaggerate them. This, consequently makes the subject seem
like a ‘widespread issue’. This new ‘issue’ is then able to control the public through
fear, and and can, as a result, create separations of groups in society.
In regards to hate on the street, the moral panic surrounding this issue is enforced by
the statistics showing a rapid increase in numbers regarding the amount of hate
crimes that happen. This means that the subject and stories of incidents get spoken
about more, and they get more exposure which makes the topic more likely to
become subject to moral panic. The speak of ‘Brexit’ in the documentary explains
how victims have seen an increase in the mount of verbal hate since the vote, which
means that not only are the numbers increasing, but no items are needed to commit
this crime. Verbal assault is still rightfully classed as a hate crime and so anyone is
able to commit this degrading crime. Similarly, anyone can be a victim - even by
literally being in the wrong place at the wrong time. Similarly to ‘VICE’S - The Rise of

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Acid Attacks’, there is a strong East London focus whereby those who
feature are mostly legal immigrants from countries such as Spain,
Poland and Italy, who have experienced some sort of race crimes
since moving to Britain. Other features’ also include those who have foreign heritage,
yet were born and bred in Britain. Yet again it is evident that there are only few
caucasians featured in the production. As a result of this moral panic, people are
more reluctant to go out onto the streets - especially in East London, simply out of
rational fear of being subject to a hate crime.
Equilibrium - Lauren Rosenfeld
In 1969 Todorov produced a theory which he believed could be applied to any film.
He believed that all films followed the same narrative pattern. They all went through
stages called the equilibrium, disequilibrium, acknowledgement, solving and again
equilibrium.
There are five stages the narrative can progress through:
1. A state of equilibrium.
2. A disruption of that order by an event.
3. A recognition that the disorder has occurred.
4. An attempt to repair the damage of the disruption.
5. A return or restoration of a new equilibrium.
Apart from the introduction, Panorama – Hate on the Street is similar to The Rise in
Acid Attacks documentary in that it follows some elements of the equilibrium theory.
For instance, the documentary starts off calm, and at a state of equilibrium, as we
are introduced to the presenter. There is then a state of disruption, shown through
footage of protests and as we hear the story of a boy who has been a victim of hate
crime. Much like the first documentary analysed, Panorama also does not follow the
third stage of the theory, as there is recognition of the disruption throughout. There is
then an attempt to repair, as the presenter interviews professionals from a professor
to a chief constable, in an attempt to repair the situation. Lastly, there is not a return
to equilibrium, as the disruption that first occurred is not solved, leaving the
documentary on a somber note.

Panorama documentary explores rise in UK hate crimes

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