Mohamud Hasan Reading Death in Paradise
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Mohamud Hasan Reading Death in Paradise: Revisiting Polysemy in Televisual Pleasure Master’s thesis Faculty of Education, Media Education University of Lapland Spring 2017 University of Lapland, Faculty of Education The title of the pro gradu thesis: Reading Death in Paradise: Revising Polysemy in Pleasure Author: Mohamud Hasan Degree programme / subject: Media education The type of the work: Pro graduthesis_X_Laudatur thesis__Licenciate thesis__ Number of pages: 91+ 6 Appendices Year: 2017 Summary: This study examines an episode of Death in Paradise, a BBC television crime drama series in an attempt to find out how televisual pleasure and gender and racial representations are constructed in Death in Paradise. This study pays a particular attention to the textual features of the programme and employs narrative analysis to account for format, generic convention, style and storytelling in one episode which acts as prototype for discussion of the whole programme. Scene description analysis was put to good effect in the breaking down of the text scene-by-scene. The analysis showed the text as resisting to be confined within a set of defined guidelines as pertains to generic expectations. Ideologically, the episode proves to be both conformist and contradictory, while genre-wise it both promiscuous and familiar. The programme is also largely progressive in representation of women and Black people. As to what constitute the source of pleasure, the episode mirrors the whole programme and is a classic polysemic text which is open to multiple readings. Key words: pleasure, representation, television crime drama, narrative analysis Other information I give permission the pro gradu thesis to be read in the Library I give permission the pro gradu thesis to be read in the Provincial Library of Lapland Table of Contents LIST OFFIGURES AND IMAGES 4 1 INTRODUCTION 6 1.1 Why Death in Paradise? 6 2 THEORETIC FRAMEWORK 12 2.1 The Concept of Pleasure 12 2.2 Ideology and Television 14 2.3 Postcolonialism, ’then and now’ 19 2.4 Postfeminism 22 3 FOCUS OF THE STUDY 25 3.1 Introducing the context 25 3.2 Black People in British Television 27 3.3 Women in crime television 35 3.4 Style in television drama 37 4 METHODOLOGY 39 4.1 Foundation of research design 39 4.2 Research question 40 4.3 Charting narratology 41 4.4 Semiotics of narratives 46 4.5 Selecting the subject of analysis 49 5 ANALYSIS 51 5.1 Format in Death in Paradise 51 5.2 Multi-strand storylines 57 5.3 Melodrama: introducing a female story 61 5.4 Generic promiscuity: an ideological technique to appeal across the divide 66 5.5 Hybridity, Comedy and Stereotyped roles 71 5.6 Visual excess in Postcolonial Caribbean 75 6 DISCUSSION 84 REFERRENCES 91 APPENDIX I: SCENE DESCRPTION ANALYSIS 97 LIST OFFIGURES AND IMAGES Figure 1 Relationship between main characters ...................................................................... 51 Figure 2 Character relationship in A story .............................................................................. 54 Figure 3 Paris job offer ............................................................................................................ 55 Figure 4 Humphrey love for Camille ...................................................................................... 55 Figure 5 Characters relationship in C story ............................................................................. 56 Image 1 Long shot of Camille ................................................................................................. 59 Image 2 Camille, Catherine and Florence at the harbour ........................................................ 59 Image 3 Close-up of Camille ................................................................................................... 62 Image 4 Humphrey engaged in ratiocination .......................................................................... 64 Image 5 Flashback scene ......................................................................................................... 64 Image 6 Dwayne and Florence poking fun at Humphrey ........................................................ 69 Image 7 Humphrey falling from the balcony .......................................................................... 70 Image 8 Establishment shot of beach-side resort .................................................................... 72 Image 9 Aerial shot of beach-side resort ............................................................................... 72 Image 10 Young people enjoying the ocean ........................................................................... 73 Figure 11 Full shot of a wild bird ............................................................................................ 73 Figure 12 (a) Panning shot of surfers ...................................................................................... 73 Figure 12 (b) Panning shot of bridesmaid outdoors ................................................................ 74 Figure 13 Close-up of the victim ............................................................................................. 74 Figure 14 One of the suspects on the phone ............................................................................ 76 Figure 15 Bridesmaids dancing ............................................................................................... 76 Figure 16 Camille and Humphrey kissing ............................................................................... 78 1 INTRODUCTION 1.1 Why Death in Paradise? Television drama programmes hailed for narrative complexity, stunning visuals and all forms of post-modern sophistications have been subject to immense scholarly interest in recent times. Death in Paradise which is the subject of this study, however, is devoid of sophistications television crime drama has come to be associated with whether it is in terms of narrative complexity or revolutionary forensics. Still, how is it possible that a crime drama series which is so formulaic, simple to follow and devoid of grittiness, which has so much characterised the British crime television gain so much prominence among television viewers. Writing for the British daily The Guardian in an article Death in Paradise: how on earth does it get so many viewers? published on February 11th 2013, Michael Hogan is equally mystified. In the article, Hogan is adamant that there is the element of “meteorological escapism” at play in Death in Paradise since the series is aired during winter in the United Kingdom which naturally would play with the idea of ‘escaping’ to a warmer climate. Nonetheless, stopping at the unique location which makes it possible televise stunning scenery and likening a series into its sixth season to holiday brochure, is simply not enough to explain why millions in the British Isles and even beyond tune in. While the Thursday night series goes about its business without much fuss, Shaun Kitchener of the British daily Sunday Express noted in an article published on February 24th 2016 titled Death In Paradise confirmed for series six as giant ratings continue that the series was third- highest rated drama in the United Kingdom in 2015.Having been screened in 237 territories, Kitchener adds that the series was the fourth-widest selling British export around the world. The last episode of the fifth series which aired on 26 February 2016 on BBC One left from where it had all started ― viewers yearning for more. 7 It is not surprising, however, for a television crime drama series to enjoy huge popularity, and as Turnbull (2010) confirms, the genre is one of the most enduring and successful of television's entertainment genres. In scrutinising the programme, the major question posed is not 'why' viewers watch Death in Paradise, but 'what' makes them watch the programme. Therefore, this study calls for a close reading of the text with an aim to find out the construction and packaging of text which makes it pleasurable to watch, and how gender and racial representation are constructed in the series. Representation has emerged as contentious issue in British television with crime drama now taking a new dimension. Recently, crime drama series such as the BBC detective series Luther (2010-2015) and the mini-series Undercover (2016) also by the BBC have showcased Black actors in leading roles. 1.2 Pleasure and the Text The starting point in this study begins with the examining of the concept ‘pleasure’ since it is through this term that people would often, use to describe their fondness of something. Fiske (1987), states that the word 'pleasure' is crucial to understanding of popularity, and hence the pleasure viewers get from watching a programme very much explains their intentions. The question of pleasure has always proved problematic to television and cultural studies. Jim Bee's afterthought essay First Citizen of the Semiotic Democracy on John Fiske's influential book Television Culture, brings this issue to the fore. Fiske's approach to pleasure according to Bee (1989 is theoretically confused and politically disabling. Fiske's argument, contrary to the popular argument that television helps maintain the subjugation of the subordinate through hegemony, claims that popular television empowers the subordinate, produces a ‘semiotic democracy’, and threatens the dominant (Bee, 1989:98). However, as it has been argued on multiple occasions, the virtue of the text being open to multiple readings at the level of ideological interpretation does not mean that it