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Regional and National Identity
What is Britishness?
Understanding Regional Identity
• Pick3ofthefollowingregionsandstereotypetheirregionalidentity:– Northerners– Southerners– Essex– Scottish– Welsh– Scousers– Geordies– Yorkshire– Mancs– Brummies– Londoners
Northerners• Stereotype – ‘NorthernMonkeys’,Loud,rude,drinkalotandofalowerstatus
• Costume– Tracksuitorcheap/casualclothes
• Dialogue/dialect– Vowelsoundsover-pronounced
• Make up– Overthetoporminimal
• Class/Status– Low
Southerners• Stereotype
– ‘Poncy Southerners’arrogantandposh• Dialogue/dialect
– Wellspoken– ‘TheraininSpainfallsmainlyonthe
plain’• Costume
– Suitandtie,tailoredclothinganddresses
• Props– Briefcase
• Make up– Classyandtoaminimum
• Class/Status– Middle/Upper
Essex• Stereotype
– Imageconscious,unintelligent, lovetoshopandparty• StereotypecoinedbyTOWIE(TheOnlyWayisEssex)• Dialogue/dialect
– 'Shutup’&'OhmyGod'=commonphrases• Costume
– Girls=Revealing/OTTBoys:Fashionable• Location
– Clubs,Boutiques&Hairdressers/Salons• Props
– Expensive,flashy,tackyhandbags,uptodatemobile• Makeup
– Faketan,fakeeyelashesandhairextensions• Class/Status
– LowerMiddle
Scottish• Stereotype
– Humourless,hateothernations,alcoholicandviolent,devoidofveggies
• Dialogue/dialect– Strongaccent'och''wee’(loud)
• Costume– Kilt,Tartan,Tamo'Shanter
• Location– Highlands,Cold&Vastopenspaces
• Props– Bagpipes,Haggis,Whisky
• Makeup– Gingerhairandfreckles
• Class/Status– Lowerclass(farmers)
http://www.youtube.com/watch?v=fp-jVwBGUsI
Welsh
• Stereotype– Small,darkhairedpeoplewhoallplayrugby,singinchoirs,herd
sheepormine(coal)• Dialogue/dialect
– Very‘song-like’andmelodic,slowandexaggeratedpronunciation,lackofvowelsinwords
• Costume– Rugbyshirts
• Location– Rugbypitch,church,pub,fieldswithsheep
• Props– Sheep,daffodils,leeks,rugbyball,dragons
• Makeup– Minimal
• Class/Status– Middle/Lower
Scousers• Stereotype=Dangerous;‘WhydoestheriverMerseyrunthroughLiverpool?Ifitwalkeditwouldgetmugged’
• Dialogue/dialect=Flemmy,difficulttounderstand;'like'prominentk's
• Costume=Tracksuits,verycasualcheaplookingclothing
• Location=Pub/home• Props=Cheaplookingjewellery• Makeup=Minimal,orOTT• Class/Status=Low
http://www.youtube.com/watch?v=STIvNjWobzA
Yorkshire
• Dialogue/dialect='Ey up’,‘An'Ah'll tellthi thatfernowt’,don’tpronounce‘t’s’
• Costume=Flatcaps,tweedjackets
• Location=Openfields,countrypubs,Localshops
• Props=Whippets/YorkshireterrierandYorkshirepuddings
• Makeup=Minimal/Pale• Class/Status=Low
(farmers)http://www.youtube.com/watch?v=jzAD2GLfaNU
Geordies• Stereotype=Loud,swearalot,
partyanimalsandbingedrinkers(helpcoinedbyGeordieShore)
• Dialogue/dialect=‘wayeyeman’,difficulttounderstand
• Costume=Revealing,tightclothing
• Location=Busytowncentres,clubs,urbanareas
• Makeup=Overthetop,faketan,darkhair
• Class/Status=Lowermiddle/middle
Mancs
• Stereotype=Loud,rude,funnyandfondoffighting(HelpedcoinedbyOasis)
• Dialogue/dialect=‘Oh,aye’‘Nowt’• Costume=ManchesterUnited• Shirt• Location=Busytowncentres• Class/Status=Low/lower• middle
Brummies
• Stereotype=Unintelligentandunfriendly
• Dialogue/dialect='Yow'heavilypronunciationthe'ow'of'You'
• Costume=Casual• Location=Busy,industrialised
centres• Makeup=Greasyhair• Class/Status=Low
Londoners (Northern)
• - Dialogue/dialect=Wellspoken,rangeofvocabulary
• -Costume=Cashmerejumpers/sweatersandsuits
• -Location=Skyscrapers,swankybars,poshhomes
• -Props=Briefcase• -Class/Status=Middle/upper
Londoners (Cockney / South London)
• - Dialogue/dialect=‘Gorblimey’– Rhymingslang‘applesandpairs=stairs’,– dropping‘t’s’
• -Costume=Flatcaps• -Location=Busystreets,marketstalls• -Makeup=Minimal• -Class/Status=Low
Mind Mapping• TrainSpotting• Braveheart/• MonarchoftheGlen• Emmerdale• Shameless• DocMartin• EastEnders• Gavin&Stacey• Broadchurch• TheReplacement• PeakyBlinders• DowntonAbbey• Skins• WaterlooRoad• Corrie• Misfits• Sherlock• Dr. Who• Torchwood
TEXTUAL Analysis
1.Cinematography2.Mise-en-Scene
Characters&Costume,Props, Setting/Location3.Editing4.Sound
DiegeticSound (Dialect,Colloquialisms)
The satellite map shows us a city sprawl so we know that the programme is set
in an urban area. However it is the River Thames than reveals the specific
location as being London.
Regional Identity can be seen by the views we see in the
picture. We can see the countryside in the distance and we can also see an old
vehicle of which is only used in the countryside.
You can tell that this is set in the country also
because the background of the first picture is the country
and in the second picture the house is styled as a country
house. Also, what the characters are wearing
symbolises ‘the country’
You can tell that this is set in an estate as there are flats in the background and the people look like they aren't of a high class because of the clothes they are wearing therefore we would expect them to live there and if there is a show about them
then it would be set here.
Manchester- Mancunians,orMancs Liverpool– Scousers
Task:Asyouwatch,writenotesandthenwriteoneP.E.Eforeachofthefollowingclips
As you watch, consider:•Setting•Accents•Dialogue•Props•Make up
•Class of characters•Costumes
Revision Clips
• (middleclass/upperclasscharactersdonothaveregionalaccentsandarepresented‘asintelligent’whilethelocalsareridiculed–linkstoMarxism).
Key Theorists
• TheoristAndrewHigson (1998)writes;“Identityisgenerallyunderstood tobethe
sharedidentityofnaturalizedinhabitantsofaparticularpolitical-geographic space
– thiscanbeaparticularnationorregion.”
• BenedictAnderson (1983)maintainsthatthemediaplayavitalroleinconstructing
anational/regional identityasinrealitythenationistoobigforeveryone toknow
eachotheryettheyoftenhavesharedvalues;“Theunificationofpeople inthe
modernworldisachievednotbymilitarybutbyculturalmeans,inparticularthe
mediasystemenablespeople (ofanationorregion) tofeelpartofacoherent,
meaningful andhomogenous community.”
Higson(1998)claimsthatmanyTVdramas(suchasEastenders,Corrieetc.)demonstratetheimportanceofcommunityandpatriarchalvalues;“Socialandculturaldifferencesseemlesssignificantwhenshared.Thecommonpurposepullstheindividualcharactersofthedramatogether,forgesthemintoanorganic,self-functioningcommunityandensuresthateachpersonhasaclearroleinthecommunity.Thissmall,self-containedfunctionalcommunitycanthenbereadasstandingforthenation,whichistherebyimaginedasaconsensualgatheringtogetherofthediverseinterestsofindividualswhomakeupthatcommunity.”
Higson (1998)andCorrigan(1992)arguesthatTVdramadoes
notalwayspresentcommunitieslikethis,“Identityisfluid,
unstableandcontingentoncircumstances”(Corrigan1992)
“Allegiancesareforeverbeingmade,unmadeandremade;
communitycannotbetakenforgranted;theyareinsecure
andoftenself-destructive…Tensionofrace,gender,sexuality,
thefamilyandgenerationsrepresentnotsimplyas
multiculturalbutindisarray”(Higson 1998).
• Inshort,asHigson summarised;“Imagesofsocialandcultural
disturbanceandfragmentationaremoreprominentthanimagesof
consensualcommunity”thisobviouslypaintsaslightlynegative
imageofmulticulturalBritain.
• Higson goesontoarguethatTVdramahastofindwaysof
representinghybrididentitiesinmulticulturalBritain;“AsBritain
becomesvisiblymulticultural,sothemakersofmediatextshave
attemptedtodealwithplurality,tofindspaceinrepresentationfor
culturalminorities,ethnicorotherwise.Indoingso,thecultural
boundariesofthenationhavebeenredefined,andawider,more
extendedandhybridnational‘community’imagined.”
ConstructingimagesofRegional/Nationalidentity:
• AccordingtoHigson (1989)therearetwowaysin
whichtheprocessofconstructingimagesof
national/regionalidentityshouldbeunderstood;“The
firstinvolvesaninwardlookingprocess,definingthe
nationintermsofitsownculturalhistory.Thesecond
isamoreoutward-lookingprocess,definingthenation
intermsofitsdifferencefromothers.”
Inotherwords,stereotypesplayalargeroleinconstructingimagesofidentityandthesecaneitherreaffirmnotionsofanation(historic/culture)orcontradictthem.Forexample,asHigson (1998)states;“FilmlikeTrainspotting(1995)dealwithquitespecificculturaltraditions,includingworkingclasstraditions,youthtraditions,allofwhichcanbesubsumedundertheumbrellatermBritishness.”Inotherwords,TrainspottingtapsintotraditionalstereotypesofScotlandwhileillustratingwhatthesestereotypesmeantoworkingclassyouths(social-realistinterpretation).Interestingly,thisfilmchangedthewaythisfilmrepresentedScotlandchangedoutwardperceptionsofthenations(negatively).
Higson alsoarguesthat;“Representationsofnational/regionalidentityareconstructedasthenarrativeofthetextunfolds,ascharactersarepittedagainstoneanother,soasenseofidentityemerges…butatthesametimeproducersoftenresorttostereotypingasameansofestablishingcharacterandidentity.”
• Higsongoesontosay;“Stereotypingisaformofshorthand,away
ofestablishingcharacterbyadoptingrecognisableandwell
establishedconventionsofrepresentation…thestereotypereduces
characterstothemostbasicformandattemptstonaturalisethem
andthemorewidelyrecognisabletheybecomethemorereadily
theyareaccepted.Exceptthatifastereotypebecomesmorewidely
recognisableitbecomescomic”.
• Higsonadds;“Nowonderthenthataparticularcharacterization
maybecriticisedforbeingstereotypical,meaningitlacksarealistic
dimension,itfailstomatchuptotherealityofidentity.”
• AsHigson pointsout,itisalwaysimportanttoanalyse: “Identitiesandalliances,inparticularrelatingtoclass,ethnicity,religion,classandgender.”Inotherwords,howdoesacertainregionseemtoviewthesethingsandwhatdoesitimplytheproducerwantsyoutothinkaboutthisregionanditsviews.
Intermsofregionalidentity,itisagainimportantto
rememberMedhurt – thinkaboutwhothedominant
producersarebecauseitisoftenthecasetheystereotype
those‘notlikethem’(workingclass‘CornishCarrot
Crunchers’etc.).Also,itisworthnotingthatifmiddle
classwhitemenappearinregionalTVdramas(e.g.Dr
Martin/VicarofDibley)theyareusuallymadeouttobe
educatedandreasonableunlikethelocals.