Case Study 1: Thriller TV drama/series

Case Study 1: G321 Research into thrillers

Thriller TV drama/series

Spooks [2002 – 2011]

Spooks, a British television drama series, was originally aired on BBC One [May 13^th 2002 – October 23^rd 2011] and is compiled of 10 series in total.

The show derives its title from a colloquialism for spies, as the episodes themselves follow the members of Section D, a sector of MI5, and the tasks they perform in relation to their jobs. With Section D based at the service’s Thames House headquarters, and the offices inside referred to as ‘The Grid’, the series balances the work of characters situated both within the edifice and out successfully; whizz-kids and intellects huddle around computer screens, rattling instructions off to the action men ‘out in the field’ diffusing the latest bomb and tracking the newest antagonists and reciting secret codes like there’s no tomorrow.

As well as a flawless compromise between humour and tension, Spooks is remembered for its high quality production and employment of popular guest appearances.

Awards picked up over the years include a BAFTA for Best Drama Series [2003], a win from the Royal Television Society Awards [2003] and the Broadcast Awards [2003] for the same nomination [Best Drama Series]. Latterly, in 2008, Rupert Penry-Jones and Hermione Norris were awarded Best Actor/Best Actress at the Crime Thriller Awards. Jennie Muskett and Paul Leonard-Morgan were nominated also for BAFTAs in Original Television Music, but didn’t receive any further success.

“One of the best things on British TV –

Spooks is, quite frankly, bloody excellent. It seems to have learnt all the tricks that the best of American thrillers have picked up . . . The acting is likewise excellent [unlike many other similar programmes, Spooks doesn’t attempt to make the characters whiter-than-white. They’re likeable, just not perfect]. It also has the bravery to use storylines that are shocking.

10 out of 10.”

The Horseman, IMDB user from London, England

Recently discovering that the series will be resurrected in film form, Spooks: The Greater Good, I greatly anticipate the release. The only further details, however, that I can access as this time include suspected names surrounding new members of the team, and the expected date of which production is due to commence; early 2014.

Video One – Spooks series 7 episode 8

Firstly, as I regard it to be one of the most effective elements of the clip, the soundtrack throughout is essential to the enforcement of this series being thriller in genre. I say the soundtrack, although really it is the lack of all noise, or all artificial, non-diegetic noise, that creates much needed tension during the opening gunfight sequence.

A motorbike snarls by within the first few seconds, a dog barks in amidst the heart of the discord, car alarms intertwine with gunshots – all these naturalistic sounds combine with the fact that the conflict unfolds before us in real-time [there is a crucial absence of editing; both fast paced and slow motion], making the piece appear particularly tense. Constant droning of traffic in the near distance brings back the imposing threat to public safety the characters are engaged with preventing. A further lack of all diegetic noises being enhanced – or enhanced obviously – during postproduction heightens audience anticipation, with the result looking realistic and therefore more dangerous. Exaggerating the risks of a situation is virtually a remit for thriller genre productions; should they fail to comply with meeting this requirement, they jeopardise the construction of tension for their viewers. Spooks follows this ‘rule’ and is highly successful as a consequence. Additionally, the music played by both the piper in the subway, and the piano by the sleeper agent contrast significantly to the escape the spooks are attempting to make.

The mise en scene of the extract is overpoweringly dark, ominous. Activity within all scenes is patriarchal, and reinforce archetypes of thriller dramas/films being more catered toward males audiences. Blue tinges seem to occur both naturally and with the aid of some very slight tinting, either way connoting a cold, hostile atmosphere. This hostility could be seen reflecting the frictional relationship MI5 are depicted to have, in this instance, with the Russians. The literal gap between the protagonists [the spooks] and the antagonists [the Russians] constructs connotations of the physical differing to be reflective of the contrasting aims and ideologies held by each group. The gunfights spatial composition mirrors the relationship MI5 allegedly have/has with the FSB.

Not so coincidentally, amongst a dense, crowded, urban landscape, the only colour to be found is present in shots involving large clumps of the public. An example of this is Harry Pearce [Peter Firth] escaping his pursuers; the flowers beside, and the brightly clad sea of civilians engulfing him act as the only colours in the scene. The primary connotation of this is symbolic; the public and the city symbolise the life they [the entire team] are trying to preserve.

Camerawork, of course, plays a colossal role in asserting the thriller genre of Spooks. Handheld filming is featured at the start, connoting the disorientation Lucas North [Richard Armitage] was supposed to feel as he endeavoured to protect his boss, colleagues and himself. The jumpiness also informs the viewer that the moment of disequilibrium is upon the characters and, ultimately, them. Control, in the opening shootout choreography, constantly shifted between two opposing sides; the shaky camerawork connotes this perfectly.

A more poignant angle is added as Harry’s foreign pursuer gains on him in the subway; this over the shoulder shot effectively captures key action, possibly rising audience anticipation and expectancy yet higher. From this, the scene transforms into a low angle shot reverse shot, still between Harry and his opposition. Rendering the Section D head to be the less weak of the pair, Harry appears stronger and powerful in comparison to the dying man choking below him. So as to illustrate the solution to the conflict, the piper’s playing in the background resumes, becoming audible once again. This further contrasts almost comically to the grim but humorous death of the Russian antagonist. Slow motion added to the tracking shot of Harry’s journey underground, as he dodges the hitman, is also incorporated. Only when the shooter rests his laser on Pearce’s chest does the film resume normal pace. This connotes tension, making viewing a thrilling experience.

Finally, fair representation, as demonstrated partially within the clip, helps make Spooks so successful. There is evidence of this when a Russian woman is seen, firstly in the office, but then also when a second foreign female is out in the field. Possessing intelligence and handling weapons are archetypal characteristics and actions adopted by male protagonists. Weapon use, conventionally, attracts more patriarchal audiences. In fact, the female shooting at Lucas outlives her male accomplice, as he is lost to the violence. Here, gender correlating to capability is portrayed equally; none of the females in the extract are exactly marginalised e.g. Ros [Hermione Norris] and Connie [Gemma Jones] – a notably older woman – are seen separated from their male peers and having to fend for and save themselves.

A more obvious picture painted of equality, this time concerning age representation, includes Harry – an older male and less likely protagonist – killing a younger, supposedly more physically able man. Furthermore, Malcolm [Hugh Simon] and Jo [Miranda Raison] were revealed to be as heroic as the likes of Lucas and Ros. Although tucked behind the safety of a computer screen, both Jo, a female, and Malcolm, an older male, are shown as intelligent individuals on ‘The Grid’ and act as integral parts of the team and the team’s wellbeing. Spooks was known to often challenge such conventional formulas of representation, instead reinventing these traditional roles of males and females, the old and young, foreigners and nationals, making for extremely refreshing viewing – both when it was initially broadcast, but even nowadays, as discriminatory representation is still an issue, I believe, in modern media.

In my opinion, Spooks is a superb production, a show that only got better as it went along. The 10 series, comprised of 64 episodes, manage to pack the same punch as blockbusters and thriller films – of a far larger budget – on a weekly basis. As well as complex plots, the scriptwriters have even found time to work in humour; comical aspects strengthen both our like and dislike for characters, either way engaging us enough to continue watching.

To summarise the specific clip analysed, I think the tension present within the opening gunfight sequence to still be there at the end of the piece – a great achievement indeed. In my eyes, the above is just one of the many examples that demonstrate why the show is so good, and why, ultimately, it should be set aside and esteemed on a completely different level to other series releases similar in genre and narrative.

Below are two additional snippets from the show; the first from series 7 episode 1 and the second from series 7 episode 6. I also feel they are strong illustrations of what I’ve spoken about above; Video Two exhibits the shows daring storyline and plot twists, as Adam Carter [Rupert Penry-Jones] takes his car for one final spin. Spooks was always inclined to kill off characters frequently [but effectively], gripping viewers with the cruel disposability of their favourites.

Video Three expands particularly nicely upon my previous representational deductions. Firstly, the characterisation of Dean [Jacob Anderson] as a British youth is interesting, as it isn’t so challenging, not so seeking to break stereotypes of young people, of young boys especially, as Spooks usually sets out to be. Secondly, Jo is seen unarguably breaking generic conventions of women, as she punches her opposition before exiting the scene unscathed, smoothly. She empowers the female figure as opposed to degrading her gender, I love it.

Video Two

Video Three

Series 7 is where all three clips are taken from. In conclusion, here are two slightly more esteemed reviews:

The Guardian’s Leigh Holmwood suspected Adam’s departure “would have cast a long shadow,” but continues to state that the introduction of Lucas “more than made amends” by means of a replacement. Branding Ros Myers’ return “a genius move” before considering it to be the best series of Spooks, I think it is obvious that I am not alone in thoroughly enjoying the show.

Mark Wright of The Stage calls series 7 “stunning” with the final 3 episodes “hitting new heights of tension and storytelling” in particular. Like me, he believes it to be “as good as, if not better, than the first couple of seasons.” Notably, Wright praised the “strong female role model” of Norris’ Ros Myers. The critic concluded that “Spooks has been my favourite show of the last few months and indeed of 2008.”

I couldn’t agree more, Mark.