Contextual analysis 2 panorama (2)

Units 4, 5, 24, 31 - Task 4 Lauren Rosenfeld, Ben Karrass, Millie West,
Ben Goldstone & Nikon Ahamed
Contextual Analysis 2 - Panorama
https://www.youtube.com/watch?v=yetFgoAkrGE&safe=active
Hate on the Street is a documentary, where Panorama investigates what is happening on
the country's streets. With exclusive access to the government's new crime figures, the
programme reveals that race and religious hate crime is highest since 2008. Reporter Livvy
Haydock travels the country meeting victims and perpetrators to discover what is causing the
rise in these hate-driven crimes.
Lauren Rosenfeld - camera work
The documentary begins with a series of pictures of racial
slurs in public places, phone footage of attacks/CCTV
footage, extreme close ups of a victim of an attack and a few
interviews. These are used to entice the audience into
watching the full documentary, as they are short and
engaging. After the introduction, there is an establishing shot
of ships and an over the shoulder shot of the presenter to
introduce who will be walking us through the documentary
and the location she is in, which is Dover. This is followed by
long shots of people walking around the street and extreme
long shots, showing to the audience this town is a primarily
British area, which is supported by the shot of a row of Union
Jacks. There is then a stark contrast to a barbed wire fence
as the presenter talks of a ‘battle of immigration’, which
connotes danger. An extreme long shot and pan is used to
show the extent of the fence. Another person's footage is
then used of a protest taking place, which is shot using a
handheld camera, providing an unsteady/unsafe
atmosphere, and showing the audience a new perspective.
The footage shows extreme long shots to show the amount
of people protesting and switches to a close up of flags to
show the audience what is on them. This is followed by a
mid shot of the presenter, in order to show two sides of the
fence, metaphorically stating that immigrants are put on one
and British people the other.
The presenter then states she is ‘on the road’, leading to
several shots in the car, ranging from over the shoulder to
extreme close ups, to show to the audience that she is going
to a new location. The close up expresses how serious she
feels on the issue. An establishing shot is used of a run down castle, establishing to the
audience a location change, stating that she is now in Dudley. Here, several long shots and
mid shots are used similar to the location in Dover, however this time there more ethnic
people are seen, as the presenter states most are ‘foreign born’. Extreme long shots show
the presenter walking to a new location, and she is tracked through the school. A long shot is

used of kids in class, showing they are being taught and a close up shows
the kids interest in studying. Here, a safe and warm atmosphere is
created, which is enforced by the use of a tripod. A close up
is used, with the woman only in focus, stating her relevance
in this documentary. It is then cut to a long shot of the family
eating showing to the audience that although they are
classed as foreigners they are a normal family. This
contrasts to what is being said about last year, when the boy
was attacked. Extreme long shots are used showing the
surroundings are dark and it is raining. This is followed by a
slight reconstruction, where there are shots of the estate with
graffiti. The presenter and boy are tracked from behind,
giving a sense that they are being followed and are unsafe.
Another extreme long shot is used to show the scale of the
area, when ‘20 youths’ attacked. The front tracking is also
unsteady, showing the danger they are in. There is a cut to
an extreme long shot from being a fence, which connotes
that the two are being watched, followed by several long
shots of the estate showing it is an isolated and trashy area.
These shots help the audience to piece together the story
and put themselves in the victim's position. Shallow depth of
field is also used here of the victim, where the camera
focuses on the person only, with the background around
blurred. This is used to show the boys emotions and make
the audience sympathise. This is followed by several shots
of the area creating an eerie atmosphere, for example, there
are close ups of barbed wire, litter and abandoned objects,
further connoting how run down and dirty the area is.
A close up of a street sign is used, signifying another
location change - Wrens Nest. An extreme long shot and
tracking of the presenter is used, showing the surrounding
area is rough. An establishing shot is used of a pub, starting
a new location. Mid long shots are used for the interview, to
introduce three more people. Mid shots are used, showing
the body language and hand movements of the men and
expressing their anger/frustration of the situation. Followed
by a close up, when talking about the seriousness of the
issue. An extreme long shot is used to state the end of the
location.
A high angle states a new location. In the new location, the
interview is shot with a tripod, as the person being
interviewed is a professor, and using a tripod shows
professionality. Two shots are used with this interview, to
show both their reaction, and close ups of the computer
screen shows the graphs for the audience. A long shot is used, stating that the presenter is
leaving the location. More phone footage is used, which gives the audience a better insight.

We are then introduced to a new person through a close up, in the centre
of the frame, showing their significance, followed by a mid shot, showing
body language, to a close up for the emotions when stating the racial sluts
and lastly a long shot. This is done three times within the
documentary for three different people, all stating their
stories on how they have been a victim of racism.
An establishing shot shows the audience a new location.
Low angle shots are used of a football game, showing the
skill of the players. The audience are then taken to a new
location - a playground to help the audience visualise what
happened to the victim. Long shots are used to show the
atmosphere as dark. A two shot is used of both people in
focus, showing their importance. When the man states racial
slurs a close up is used to show his emotion. We then cut to
extreme close ups of the victims scars, this shocks the
audience, and shows the extent of the injury. There are then
a mix of shots, from long shots to mid shots of the presenter walking, stating that she is
going to a new location.
A shallow depth of field is used, of a police hat, which
establishes to the audience an authoritative figure, and a
new location. A tripod is used again, which is professional,
as they are interviewing a chief constable. Mid shots and
shot reverse shots are used in the interview, which create a
steady atmosphere. This cuts to a close up when talking about serious issues, showing the
importance of the issue. More phone footage is used, giving the audience another
perspective. We join the presenter in the car again, stating that she is going to a new
location, which is followed by aerial shots, showing another heavily diverse town. Another
person is introduced, through high angle long shots, which gives the sense that they are in
an unsafe atmosphere. A shallow depth of field mid close up is used, showing that this
woman has important points to say, and that she should be taken seriously. Whilst she is
talking, there are shots corresponding to them. For instance, there are long shots of people

smoking, kids playing and busy streets. As these are long shots it
connotes that they are keeping their distance and there is danger.
There is then a long tracking shot of the presenter, to a new
set of people. There is an instant close up of a masked man
to shock the audience immediately. Long shots are then
used showing the men’s hand movements, connoting that
they are violent men, and that the audience should keep
their distance from them. Lastly, a series of shots are used
from extreme long shots to mid shots of the first boy who
was interviewed. Close ups are used, to show the emotion of
the boy and the trouble he has gone through. An extreme
long shot is used of the boy and his mother walking away, to
end the documentary on a despondent note.
Sound (Millie West)
Panorama is an informative documentary style
company who aims their videos and content at
audiences around the ages of 16 and above. This may
influence the choice of mode of address used by the
host and other featured participants.
There are many different forms and types of sound
used in the media production, ‘Panorama - Hate on the Street’.Towards the start of
this formal documentary, the clash of a symbol is heard. This is type of incidental,
and non diegetic music. (Sound that has been edited in during the post production
stage and cannot be heard by characters, as it comes from out of a text's own world)
The use of the symbols as well as the beating of drums both help to symbolise the
opening and start of the short documentary.
The general pattern for the most part of the
documentary consists of flickering between our host
‘Livvy Haydock’s narration and the interviews that
she carries out. All of the narration that is
incorporated in the production is non-diegetic.
(meaning mentioned above) In contrast, all of the interviews that are shown in the
production are synchronous and diegetic. Synchronous sound is the type whereby a
noise matches an action, which in turn creates a realistic atmosphere. Diegetic
sound is the opposition to non-diegetic; this means the sound can be heard by other
characters and comes from a source from within. As briefly mentioned, the use of

synchronicity and diegeticicity help to aid the realism and
importance of the real situations that victims have been faced with
and the unfortunate ongoing occurrence of hate and crime on the street.
During the course of the narration and interviews,
sound bridges are used. These are images that are
shown as part of the production in parallel to types of
sound recorded either independently or as part of an
interview or narrative scene. These images tend to
be relevant to the sound heard. An example of a
sound bridge used in this documentary is when a former
victim of a hate crime is showing his scar from the
incident. Whilst he continues to talk images of his injury,
obviously quite recently after the attack happened. The
camera is them focused back onto the victim and
Haydock. Sound bridges help to further aid the audience in
terms of detail and information a topic, it can make a
production both interactive and engaging to watch.
Verisimilitude is used on a number of occasions. These
are pieces of sound that are used to make a media
production seem realistic. Namely examples include the
sound of boats, seagulls, public noise in a busy area and
general car noises, which all help to add a sense of
realism into the production. Some of these forms of verisimilitude are synchronous,
meaning that they are heard in time with an action, whilst others are not; yet all are
diegetic as all of the sounds recorded can be heard by characters in the production
and they come from within a text's own world.
Incidental music is one of the largest forms of sound used in this documentary.
Incidental music is that of which is played during dramatic programmes to help add
and create atmosphere and feeling in a scene. Some of the music used is intended
to create a tense, eerie, gloomy or dangerous atmosphere in a scene. By changing
the music and there for the atmosphere of a scene, a producer and editor are able to
adapt any audience's feelings towards a piece of media. This can be done through
the pitch of the music. For example, a low piece of music can create a tense or
gloomy atmosphere. The low music can also foreshadow something negative, like a

sad story, which is one of the scenarios that incidental music is used
in this production. The types of instruments used to create the
incidental music also plays a huge role in the effect that it can have on an audience,
for example the use of a piano, or the use of a lower key can create a feeling of
danger. Moreover, a violin can create an intense feeling of eeriness. The speed of
the music can also influence the effect that it has on the audience, for example slow
music may create an unknown and suspicious atmosphere, whereas faster music
may create a tense and at the edge of your seat kind of atmosphere. An example of
when this music is used is in when individual storytellers are explaining their hate
crime experiences.
In contrast to the negative incidental music used, some more positive music is
incorporated into the documentary. Chirpy incidental music is used in a shot whereby
there are many people in a public area. This music can represent the busy buzz of
the location and make the audience feel as though
they are part of it. It gives a positive vibe and lifts the
atmosphere of the scene when the music is played. At
a separate point in the documentary, just after a
scene where low music is used, to create a somber
atmosphere, dubstep type music is incorporated to
play. Considering this music is more upbeat, again a positive atmosphere is created.
Finally, when the is a focus on a football pitch, the use of more positive incidental
music is established. This may be due to the fact that as a sport, football is
associated with fun - people enjoying themselves,
as well as laughter and people happiness. This then
means that there are positive vibes projected from
the documentary - as a result of the music - onto the
audience and the atmosphere. Most people are able
to relate to football and so the use of upbeat music
rises the general atmosphere as many viewers and audiences are able to relate to
the subject of football and good music.
There are many different modes of address used
throughout the production. One of the first is when
our host Haydock, speaks directly to the audience.
We know that he is passionate about what she has
to say, due to her use of gesticulation. She is

walking through a school that educates polish students at the
weekend and we can really feel her enthusiasm by her choice of
words and tone of voice.
The fact that she is walking through the school at the
current moment that the weekend school is in operation,
adds to the realism of the situation and documentary.
This uses synchronous and diegetic sound methods.
There are many different examples of mode of address
that are shown throughout the documentary using
independently recorded hate crime evidence - filmed by
the public. One example is when video evidence of hate
on the street is shown.The video consists of a man on a
bus shouting and screaming over the edge of the
barrier on the second floor of the vehicle. The tone of his voice is evidently angry and
annoyed, and this is also explicitly shown through his choice of words and colorful
language. A second example of mode of address used in the documentary is when
another piece of public filmed evidence is shown. The synchronous and diegetic
piece of media shows a man on the streets of east
London shouting and screaming at people who are
assumed to be in front of him. His use of swear words,
gesticulation and body language (leant forward and
constantly moving about) all imply that the man is
extremely angry, and it quickly begins to create a
silencing atmosphere and make the audience feel tense
and on edge.
There are some synchronous and diegetic interviews
shown throughout the documentary that have non
diegetic, low key music incorporated in the background
of them. Yet in some cases, this is not the case, and
the only sound that can be hard is that of
asynchronous and either the interviewees or hosts soul
voice. One of the main times that this happens is when one of the interviewee’s are
reading and explaining the horrifically increasing statistics regarding hate on the
street. In this instance, no extra incidental music is added to emphasise the man's

voice and the awful facts that he is announcing, and no extra noise
is needed to help enforce the importance of this topic. The use of
asynchronous sound is to enforce realism. That even though these terrible crimes
are occurring in society on a regular basis, life still goes on and ordinary London life
continues.
Another form of sound used in this production is voice
overs. During an interview with 3 youths, by a set of
garages in East London, Haydock asks them a series
of questions and as they begin to answer, a small
piece of text appears at the bottom saying ‘Actors
Voices’. The voice over would have been the exact
language and tone used by the boys when they
answered the questions directly. The voices of the actors
voice represents that of the interviewee’s, and therefore
there voices sound quite common. They use a range of
harsh language and try to emphasise their points through the use of gesticulation. It
is evident that they are truly passionate about the subject.The use and need of the
voice overs is to hide the interviewee’s true identity. Wearing bandanas to cover their
faces also aids this protection of identity.
To end the documentary, there is an interview with one
of the victims of hate crime This synchronous and
diegetic interview is extremely monotone, which
represents how upset and sad they are about the
atrocities that they have faced, regarding the hate that
they have received. The use of their monotone voices creates a somber mood, and
makes the audience feel sorry for the victims and all of those who have been
affected by the crime. The quiet yet deep incidental music also enforces this low
atmosphere and mood that is spread to the audience.
The credits are accompanied by some non diegetic
sound for drama. This low and light piano music leaves
the audience thinking about the informative and horrific
content that they have watched and it makes them
begin to question their own personal viewpoint on the

topic. It leaves them feeling somber and terrible about the situation
that they have learnt so much about.
Ben Karrass - editing
The episode start off showing pictures of examples of
different hate messages on the street. Editors start the
episode like this as it can give a good introduction on what
is going to be going on in the episode, A clip of fighting on
the bus is also included as it can engage the audience
with what things are happening in the world. Hate on the
streets have risen over the past couple of years and as
the editors add pictures being zoomed in it can add effect
to the viewers. Editors zoom in pictures at the beginning
as it can make the audience feel as if they need to view
the images as they get bigger. Zooming in on the hate
messages can also emphasises the effect it can have on
people who may be living in these areas or people who
are living in england who are polish or muslims etc. This
can scare the audience as it seems as people think others
who weren't born in the country deserve to live in england when this is not the case.
One picture in the documentary includes a swear word.
The editors blur this out as it's not suitable and it
unacceptable behaviour. The words can’t be used on Tv
during the hours of viewing eg watershed, because of this
they word must be blurred as it's inappropriate and will not
be allowed to be viewed on TV. During the documentary not of different cuts are
used, mainly fast or slow cuts are produced as the editors don't need to make the
documentary too complicated for viewers. There is also parallel editing throughout
the episode, editors do this to give the audience an understanding of a story being
told. Using parallel editing will make the documentary feel more meaningful to watch
as you can view what actually happened to people who are telling stories of their
past on hate on the street.
The editors use different cuts to view images and videos on attacks in the past.
When the editors pu the attacks on the episode it will be able to show the audience
that the people who filmed the fight filmed on a different device as the video doesn't
fill the whole screen.

Blurred face of victim are viewed in CCTV footage as
the people may not want the public to see their identity.
However at the bottom of the screen the editors have
included a note specifying that the footage is in fact
CCTV this shows the audience the source where they
got their footage from.This is for their own safety so the
editors need to take this into consideration and blur
their faces. The editors need to listen to what the
people want as it's their identity. Another example of
blurred faces in the documentary is when the
interviewer is interviewing people involved with different
attacks. Their faces are also blurred as they don't want
the public to recognise them. Not only do people want
their faces blurred but the attackers also have their
voices narrated by actors as they don't want any of
their identity to be leaked on air as the show will be
broadcasted on TV to the public. As their voices are narrated over the editors need
to specify this and they add a note at the bottom of the screen explaining that it's an
actor's voice to hide their identity and its not them actually speaking. People are not
the only things that editors had to blur, number plates are also included as people
don't want their number plates to be leaked on national TV. As this can be
dangerous because people can access personal information with just a number plate
to editors blur them out to keep their identity safe.
Narration is used throughout the whole episode of panorama as people are telling
the interviewer different stories. Having narration during a documentary is good as it
can give a better understanding to a story, The
editors would show clips or even a video of actors
reenacting the story, as the actors do this the
viewers would get a better understanding of the
story as they are being shown what happened
when it's being told. Narration is also used when
showing locations as it can relate to the audience
if the attacks may occur in their areas.
As the logo is shown after an introduction of the
episode it is simple as it wants to catch the
audience's eye easily. The logo is behind a blank
black screen meaning that the only thing they can
see on the screen is the logo to catch the
audience's eye. The logo zooms in to show effect
to the audience that this is a serious episode. The simpleness of the logo makes it
show the audience that its formal and important. When the show introduces the

interviewer it shown her name and occupation at the bottom of the
screen to allow the audience to identify who she is and what she has
to do with the show. This is also occurs when showing a new location, at the bottom
of the screen it shown the source where the location is recorded or even where the
narration is recorded. For example, while the
interviewer is narrating, at the bottom it states that
the source where it is recorded form is a home
office. The editors also try and get the audience
involved with panorama and a talk about the
subject of hate on the street. The editors do this by
adding a hashtag during the opening of the
episode to show that the audience can use it to
talk to others who have watched the episode to
see other peoples views on the situation.
Editors have added suspicious music to scenes
which contain serious stories as it can impact the
audience and make them feel more aware of the
story being told. Editors have to always make sure
that they add music in the right places of the
documentary to make sure that it works and has
an impact towards the audience. As the
interviewer interviewed different people throughout
the documentary the people who were interviewed
were recognised as their name and occupation was shown at the bottom of the
screen. Their names were in capital letters to allow the audience to spot their names
quickly. Furthermore next to their name and occupation there was also a logo
representing the panorama series to show that these people being interviewed may
work for the company.
Some clips that may be hard to understand have
got added subtitles done by the editors to allow
people to understand what he is saying and what
message they are trying to get across. Videos also
include a note at the top of the screen, this
includes where the clip was taken and what date
to show the audience what areas these hate
crimes are occurring. Computer logos are blurred
out as it can cause copyright over the company
that owns the logo.
The credits of the panorama episode are simple
and fast that includes the company log to add copyright to the show, the logo is
shown at the end to show the company. The credits have nothing behind it and just

contains a black screen with white writing, this
allows the show to keep the formal layout and to
show the audience that the matter of the show is
serious.
Ben G mise en scene (Colour design, costumes, decor, props) location and setting
The setting seems to be in an informal area
considering it seems like a poor area with
protesting on the street. Hate on the street to
strangers is so bad and it happens so often. The
off licence is a cheap place for booze, drugs and
food the setting seems like it's in and
unprofessional area. People that are hiding their
identify it shows to us that there either dangerous
people or hiding because they don't want to get
caught. Another reason would be that they don't
want people to know who they are as they are
talking about gang related topics. But in this case
they are hiding because they are bad people
because the location is in a informal and
unprofessional place.
There are lots of crazy people out there giving people hate
on the street but it's usually the same certain people
involved, either homeless people, builders but basically
people with unprofessional jobs and belong on the
streets. Also gangs give people a lot of
random hate because they always like to
cause trouble. The costumes people on the
street are mainly the same it's either coats,
jumpers, tracksuit bottoms or jeans.
This is shown throughout the video which suggests that on the street there’s different
types of people some english some from czech republic, etc which people then think

that it's okay to give people hate on the street because they're
different to each other.
This seems to be the only part throughout the whole
documentary that is professional where they are
looking at statistics in certain areas and information
about what's happening on the street. The location
seems to be in a office in a nicer place the
background doesn't tell us much as you can't see
much.
Mise en scene (Lighting, make up, location/setting both of us) - Nikon Ahamed
Lighting
This episode has no external lighting being
used and you can see it by the quality of the
product in general which though looks
professional, with good camera positioning
and a variation of shots being used, lacks in
the lighting department. The only element that
is easily noticeable is the use of the weather
and natural light to emphasise the feelings of
the scenes specifically as in nearly all scenes
where the victims were storytelling their events
the weather was cloudy as if it was about to
rain to emphasise pathetic fallacy. This dull
and dark weather creates a better pace as it
fits the scenes and their stories as it is on
racist attacks mostly.
Seen as the lighting is natural, the ending
product will reflect realism and this is also how
the product has been recorded. At 3:57 the
scene being shown for example is a family
gathering and seen as it is an enjoyable
moment, there is high key lighting with bright
colours being used to show the family's
innocence. At 24:01 we can see that in this scene the location emphasises the low
key lighting as it looks like they are in an abandoned place emphasising the negative
sentiments the people being interviewed have towards immigrants in this case.
Make up

There is no evident use of makeup in this episode and this links to
the lighting use as the producers tried to leave the product as
natural as possible, though, some foundation and light make up has been used on
the interviewer to avoid the reflection of the light from being seen on screen and this
is a common use of makeup in digital products
as it makes it look more professional as if there
has been put more effort and detail on it.
Location/setting
The locations being used are clearly natural, on-
street and urbanised locations in the suburbs
where the average people live, therefore the population living there will be for the
majority, middle class with an income that allows to live them with some disposable
income at the end of each month. This is why this documentary is aimed at them as
racist attacks are more likely to happen on this type of people as they are the ones
who come from outside Uk to settle up and try to have a new life in a different
country. Likewise, the community of people this documentary is targeted at may be
somewhat related to the lifestyle of those who were interviewed during the
documentary meaning that the audience may get involved more as they feel like it is
more about them.
Theories
Uses and gratifications - Ben Karrass
Uses and gratifications theory is an approach to understanding why and how people
actively seek out specific media to satisfy specific needs. An individual may have
different needs such as: personal relationship, these are people that watch the
media to fulfill their needs for companionship and to form relationships with others.
Another need is personal identity where people would watch content to find out more
about themselves and to relate to the media. Lastly it includes surveillance as it will
allow people to find out about things going on in the world that may relate to the
people watching.
This show can brings out surveillance to the public as it educates the viewers on
things happening in the world at the moment. It will also allow the audience to see
where attacks are happening so they can feel safe or to know if they need to be
aware in their area of residence. The show also fulfills the need of entertainment to
the viewers. People can interact with each other using social media. The show fulfills
interaction via social media to allow people to talk to others based on the episode of
panorama. This shows that personal relationship is also involved in this documentary
as viewers can meet people via social media and interact with them.

Decoding - Ben Goldstone
The audience is both the sender and the receiver of the message.
Tv producers seek to audiences to find out what people enjoy the most for tv
programmes. It helps producer to write a script for a tv programme because they
know what the audience want. Once the TV programme is created the audience
provides feedback to the producers resulting in the producers to then continue to
produce what they were doing or create something new that they think the audience
will like. Decoding is a very helpful process because the producers want to make
something that they think will make good money so the feedback they get from their
target audience helps them in so many ways because producers need to focus on
entertaining people. When a message is meaningfully decoded it will then serve its
purpose to either inform, persuade, entertain or restrict the receiver with a very
cognitive, emotional, ideological or behaviour consequences.
The audience decode the meaning depending on what they feel about the tv
programme and think about it. Along will how they have lots of great technologie with
them to use. Stuart hall suggests that there are three ways the receiver can decode
the message, being a dominant reader which means when the receiver accepts and
reproduces the code to the producers, negotiated reading when a code is broadly
received but only partially shared with the producer and also oppositional reader
which means when the receiver understands the reading but rejects the code.
Encoding - Nikon Ahamed
Encoding involves the theory invented by the theorist Stuart Hall who in 1973 stated
the theory of Encoding and Decoding. Based on the theory, as the audience
engages with the media text he/she will understand a particular text accordingly to
their social information and state. Therefore the producer will want to include certain
elements to make the viewer/consumer more engaged with the text which is part of
Encoding as producers are the ones who want to convey their messages to the
audience. When the message of the product gets encoded in the product it will then
get delivered to the audience when consuming it and it’s the producers’ job to make
the message easily understandable as well as cognitive and compelling for the
audience.
For example, at 11:38 we can see the way in which the camera angles have been
set and used made the whole message that the producers are trying to imply easier
to consume for the reader; in this case the mixture of shots and close-ups are there
to emphasise the feelings of the victim being interviewed and then making the
audience understand that the problem the documentary is issuing is actually a key
problem that’s affecting many people and that needs to be taken into consideration.
This applies to other instances such as at 4:38 where the viewer can clearly see the
feelings and emotions of the woman who is being interviewed which gives them the
message the writer is trying to convey.

Moral Panics - Millie West
The ‘Theory of Moral Panics’ was invented by a man called Stanley Cohen (1972).
This was the idea that a piece of media would focus on the negative aspects of a
subject or story and exaggerate them. This, consequently makes the subject seem
like a ‘widespread issue’. This new ‘issue’ is then able to control the public through
fear, and and can, as a result, create separations of groups in society.
In regards to hate on the street, the moral panic surrounding this issue is enforced by
the statistics showing a rapid increase in numbers regarding the amount of hate
crimes that happen. This means that the subject and stories of incidents get spoken
about more, and they get more exposure which makes the topic more likely to
become subject to moral panic. The speak of ‘Brexit’ in the documentary explains
how victims have seen an increase in the mount of verbal hate since the vote, which
means that not only are the numbers increasing, but no items are needed to commit
this crime. Verbal assault is still rightfully classed as a hate crime and so anyone is
able to commit this degrading crime. Similarly, anyone can be a victim - even by
literally being in the wrong place at the wrong time. Similarly to ‘VICE’S - The Rise of
Acid Attacks’, there is a strong East London focus whereby those who feature are
mostly legal immigrants from countries such as Spain, Poland and Italy, who have
experienced some sort of race crimes since moving to Britain. Other features’ also
include those who have foreign heritage, yet were born and bred in Britain. Yet again
it is evident that there are only few caucasians featured in the production. As a result
of this moral panic, people are more reluctant to go out onto the streets - especially
in East London, simply out of rational fear of being subject to a hate crime.
Equilibrium - Lauren Rosenfeld
In 1969 Todorov produced a theory which he believed could be applied to any film.
He believed that all films followed the same narrative pattern. They all went through
stages called the equilibrium, disequilibrium, acknowledgement, solving and again
equilibrium.
There are five stages the narrative can progress through:
1. A state of equilibrium.
2. A disruption of that order by an event.
3. A recognition that the disorder has occurred.

4. An attempt to repair the damage of the disruption.
5. A return or restoration of a new equilibrium.
Apart from the introduction, Panorama – Hate on the Street is similar to The Rise in
Acid Attacks documentary in that it follows some elements of the equilibrium theory.
For instance, the documentary starts off calm, and at a state of equilibrium, as we
are introduced to the presenter. There is then a state of disruption, shown through
footage of protests and as we hear the story of a boy who has been a victim of hate
crime. Much like the first documentary analysed, Panorama also does not follow the
third stage of the theory, as there is recognition of the disruption throughout. There is
then an attempt to repair, as the presenter interviews professionals from a professor
to a chief constable, in an attempt to repair the situation. Lastly, there is not a return
to equilibrium, as the disruption that first occurred is not solved, leaving the
documentary on a somber note.

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