Deep Dive - Peaky Blinders
- Mastering Media
- 8 hours ago
- 6 min read
2024: Explore how the set episode of Peaky Blinders reinforces or challenges genre conventions.
2023: How useful are structuralist theories for exploring television products? Refer to Lévi-Strauss's structuralist theory of binary oppositions and the set episodes of Peaky Blinders and The Bridge in your response.
2022: Explain Henry Jenkins' theory of fandom, referring to Peaky Blinders to support your response.
2021: Evaluate Steve Neale's theory of genre (repetition, difference, variation, and change) using the set episodes of Peaky Blinders and The Bridge to support your answer.
2020: Discuss how evident it is that television products are significantly influenced by the contexts in which they are produced, using Peaky Blinders and The Bridge as examples.
2019: To what extent do Peaky Blinders and The Bridge support the claim that television is a global industry
Point Peaky Blinders is a complex hybrid-genre production that utilizes the conventions of the gangster, Western, and historical drama genres to "mythologize" the British working class. Evidence The opening sequence features Tommy Shelby riding a horse through the industrial streets of Small Heath, mimicking Western iconography of a "tall man on a horse" arriving in a town where people dash to hide. Theory This aligns with Steve Neale’s genre theory, which suggests that genres must balance "familiar tropes" (like gangster violence) with "fresh elements" (like the 1920s Birmingham setting) to evolve and remain successful. Analysis By borrowing the "heroic" visual language of the American Western, creator Steven Knight elevates the status of his working-class characters, transforming them from simple criminals into iconic folk heroes. Cultural Context The show intentionally serves as an "anti-Downton Abbey," seeking to reveal the "secret history" of England by focusing on the lives of those often ignored in traditional, upper-class period dramas.
Point The series constructs a multi-layered representation of masculinity that subverts traditional "tough guy" stereotypes through the exploration of trauma and vulnerability. Evidence The protagonist, Tommy Shelby, is a "man of few words" who uses intelligence and "cunning" alongside brutal violence, with a backstory of PTSD following the First World War. Theory According to Stuart Hall’s representation theory, these meanings are communicated through "gesture and expression," where Tommy’s "under-stated" and "static" performance signifies a man suffering from psychological scarring. Analysis By rooting the characters' "machismo" and lack of fear in their wartime experiences, the producers add a layer of vulnerability that encourages audience empathy for an otherwise brutal antihero. Cultural Context This reflects the post-WWI social context, focusing on the "men who have forgotten about physical consequences" and the lasting impact of the war on the working-class community.
Point Peaky Blinders features strong, empowered female characters who challenge the typical "gangster’s moll" stereotypes common in the crime genre. Evidence The narrative introduces Aunt Polly as a powerful matriarch, Ada as a rebellious daughter, and Grace as a cunning undercover agent who uses a "pretty" disguise to gather intelligence. Theory This can be viewed through Judith Butler’s theory of gender performativity, which suggests that characters like Grace "perform" a specific version of femininity (through soft singing and innocent clothing) to hide their true, ruthless nature. Analysis These portrayals illustrate a burst of female independence, where women are shown "taking over" the running of businesses and families, reflecting their increased social status after the war. Cultural Context The inclusion of diverse female narrative arcs adds "richness and complexity" to the show, ensuring it appeals to a modern audience with feminist values.
Point The use of anachronistic media language, particularly in its audio codes, creates a modern "feel" that differentiates the show from other historical dramas. Evidence The soundtrack features punk and rock music—such as Nick Cave and the Bad Seeds—released decades after the 1920s, which is combined with industrial production design full of fire and "vigour". Theory This utilizes Roland Barthes’ semiotics, where the "angry but energetic" music functions as a signifier for the modern emotions and aspirations of the characters despite their period setting. Analysis This stylistic choice emphasizes the characters' "modern emotions" and simmering rage, creating a distinctly "hellish" and exciting aesthetic that sets it apart from "sanitised" versions of history. Cultural Context This aesthetic evolution was necessary to sustain the genre's appeal, offering a "spectacular and lush" production that has significantly impacted mainstream fashion.
Point The industrial success of Peaky Blinders demonstrates the power of a Public Service Broadcaster to launch "local stories" onto a global stage through digital convergence. Evidence Originally broadcast on BBC Two, the show moved to a primetime slot on BBC One before being purchased by Netflix, which distributed it to over 200 million subscribers worldwide. Theory This reflects David Hesmondhalgh’s cultural industries theory, where media institutions minimize risk by investing in "familiar products" (like the gangster genre) and established "showrunners" like Steven Knight. Analysis While the BBC is not constrained by a commercial model, the show's global reach on Netflix shows how "niche" British culture can achieve massive commercial success in non-English speaking territories. Cultural Context The show’s popularity on streaming platforms (garnering 45.71 million hours of playing time in one week) illustrates how viewing habits have shifted away from scheduled television.
Point Peaky Blinders has fostered a powerful global fandom that has successfully reversed the "cultural cringe" associated with its Birmingham setting. Evidence Fans participate in "textual poaching" by creating cosplay, fanart, and fanfiction, while thousands attend Peaky Blinders-themed festivals and museum tours in the Midlands. Theory Henry Jenkins’ fandom theory suggests that audiences have a creative relationship with the product, "appropriating" its style—such as the flat caps and suits—to build their own identities. Analysis This "cottage industry" of unofficial products provides fans with an extended experience beyond the screen, transforming a TV show into a broader cultural movement. Cultural Context The resulting "cultural Renaissance" in Birmingham has replaced local embarrassment with civic pride, proving that media representations can have a profound impact on real-world communities.
Product Context: In what year did Peaky Blinders first air, and which two UK production companies were responsible for its creation?
Genre Hybridity: According to the factsheet, which three genres are combined to make Peaky Blinders a "hybrid-genre" drama?
Media Language: How is Western iconography used in the opening sequence of Episode 1 to establish Tommy Shelby’s reputation?
Narratology: How does the show play with Todorov’s narrative structure regarding the roles of the protagonist and antagonist?
Representation of Masculinity: How does the show use the theme of PTSD to add a layer of "vulnerability" to its gangster characters?
Gender Performativity: Applying Judith Butler’s theory, how does the character of Grace "perform" a specific version of femininity?
Industry Strategy: Why was the purchase of the show by Netflix in 2014 a turning point for its global audience reach?
Audience Fandom: According to Henry Jenkins, what is "textual poaching", and how have Peaky Blinders fans demonstrated this?
Glossary of Key Terms for Peaky Blinders
Anachronistic Music: The use of modern music (like punk or rock) in a historical setting to create a specific mood.
Antihero: A protagonist who lacks traditional heroic qualities, such as Tommy Shelby, who uses both cunning and violence.
Binary Opposition: A structuralist contrast between two opposing forces, such as the criminal Shelbys vs. the lawmaker Campbell.
Cottage Industry: Unofficial or "satellite" products (like theme pubs or tours) created by fans or local businesses around a media brand.
Cultural Cringe: A sense of local embarrassment or lack of pride in one’s identity or location, which Steven Knight sought to reverse.
Digital Convergence: The coming together of different media platforms, such as a BBC TV show becoming a global success on Netflix.
Enigma Codes: Narrative hooks or mysteries used in long-form drama to keep the audience curious and engaged.
Equilibrium: The state of "normality" at the start of a story (Todorov), which in Peaky Blinders is quickly disrupted.
Hybrid Genre: A media product that blends conventions from multiple genres, such as the "Gangster-Western-Historical" mix here.
Intertextuality: When a media text references other texts, such as Peaky Blinders referencing The Godfather or The Untouchables.
Matriarch: A female figure of authority within a family or organisation, such as Aunt Polly.
Mythologizing: The process of turning ordinary people or events into legendary or "heroic" stories.
Prosumer: A consumer who also produces media, such as fans who create TikTok videos or fanfiction based on the show.
PTSD (Post-Traumatic Stress Disorder): A mental health condition used in the show to explain the characters' emotional detachment and violence.
Secret History: Stories focusing on the marginalized groups (working class, women, etc.) rather than the wealthy elites usually seen in history.
Showrunner: The person with primary creative control and responsibility for a TV series, in this case, Steven Knight.
Textual Poaching: Henry Jenkins’ term for fans "borrowing" elements from a media text to create their own cultural products.
Unique Selling Point (USP): A specific feature (like the "flat caps" or "Birmingham setting") that makes a product stand out from competitors.
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