‘Terrible things happen’: Peter Bowker's Occupation and the Representation of the Iraq War in British Television Drama

2013 ◽  
Vol 10 (1) ◽  
pp. 206-223 ◽  
Author(s):  
Stephen Harper

Peter Bowker and Laurie Borg's three-part television drama Occupation (2009) chronicles the experiences of three British soldiers involved in the 2003 invasion of Iraq. By means of an historically situated textual analysis, this article assesses how far the drama succeeds in presenting a progressive critique of the British military involvement in Iraq. It is argued that although Occupation devotes some narrative space to subaltern perspectives on Britain's military involvement in Iraq, the production – in contrast to some other British television dramas about the Iraq war – tends to privilege pro-war perspectives, elide Iraqi experiences of suffering, and, through the discursive strategy of ‘de-agentification’, obfuscate the extent of Western responsibility for the damage the war inflicted on Iraq and its population. Appearing six years after the beginning of a war whose prosecution provoked widespread public dissent, Occupation's political silences perhaps illustrate the BBC's difficulty in creating contestatory drama in what some have argued to be the conservative moment of post-Hutton public service broadcasting.

2005 ◽  
Vol 4 (1) ◽  
pp. 143-159 ◽  
Author(s):  
Lilie Chouliaraki

This article argues that the BBC World footage of the bombardment of Baghdad, March–April 2003, manages to take sides in the controversy over the Iraq war, without violating the principle of objectivity — a principle necessary for the credibility of public service broadcasting. Making use of the ‘analytics of mediation’, I show that the semiotic choices of this footage construe the bombardment of Baghdad in a regime of pity, whereby the aesthetic quality of the spectacle effaces the presence of Iraqi people as human beings and sidelines the question of the coalition troops identity either as benefactors or bombers. This combination is instrumental in aestheticising the horror of war at the expense of raising issues around the legitimacy and effects of the war. The taking of sides in the BBC ‘update’ occurs precisely through this aestheticised representation of warfare that denies the sufferer her humanity and relieves the bomber of his responsibility in inflicting the suffering. By rendering these identities irrelevant to the spectacle of the suffering, the footage ultimately suppresses the emotional, ethical and political issues that lie behind the bombardment of Baghdad.


Author(s):  
Eva Novrup Redvall ◽  
Katrine Bouschinger Christensen

This article explores the strategies for fictional content of the Danish children’s channel DR Ultra through a qualitative case study of the production framework behind its successful series Klassen (2016–now). Building on studies of television production and theories of co-creation, the analysis investigates the use of co-creative initiatives during the development and writing as well as the production of programmes. The analysis highlights the value of involving children more closely in content targeting them, not only to ensure that what is told and how it is told is relevant and appealing, but also to create a sense of participation and co-creation.


Author(s):  
Sven Stollfuß

This article investigates how platformisation changes the practices of content production and distribution through the case of the web series, Druck (tr. Pressure (2018–), for the public service content network ‘funk’ (ARD and ZDF). An analysis of the German adaptation of the Norwegian television and web series Skam (tr. Shame) (NRK3, 2015–2017) shows how public service broadcasting (PSB) in Germany is changing due to the influence of social media. To reach a younger audience, PSB has to meet them on third-party platforms. Consequently, PSB must provide content that fits the mobile media environment of social media.


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