Proper Gander: Presenting the past (2024)

The Proper Gander TV column from the March 2024 issue of the Socialist Standard

How accurate do we expect or want historical dramas on TV and film to be? Fiction, by definition, isn’t factual, and even when a story is based on real events, it can’t be an exact recreation. There will always be liberties taken to fit the events into the drama’s running time and conventions about plot and character development. Depictions of the past are always infused with the mores of the time when they were made. A drama produced in the 1970s and set in the 1870s has 1970s interpretations of Victorian styles of dress and furnishings, as well as of the attitudes and motivations of the characters. Anyone watching Upstairs Downstairs, for example, would instantly know whether they were watching the 1970s or the 2010s version.

One prominent trend in recent years is to place more emphasis on diversity in how historical dramas are produced. Previously, the media has been guilty of neglecting non-white people’s experiences and perpetuating negative stereotypes. A notorious example is the 1915 film Birth of a Nation for its racist depiction of black people in 19th-century America, while 1939’s Gone with the Wind, set in the same period, gave a distorted impression of relations between black and white people. Of course, many historical dramas have aimed to bring attention to issues affecting black people and communities by recreating what happened as realistically as possible, two examples being Roots (1977, 2016) and BBC One’s Small Axe (2020). Authenticity hasn’t been a priority for Netflix’s ratings hit Bridgerton, which revolves around an aristocratic black family in early 19th-century London. Series creator Chris Van Dusen acknowledges the unlikeliness of this scenario, saying that Bridgerton ‘is a reimagined world, we’re not a history lesson, it’s not a documentary. What we’re really doing with the show is marrying history and fantasy in what I think is a very exciting way. One approach that we took to that is our approach to race’ (tinyurl.com/56xwdv8h).

The series was inspired by the largely debunked claim that Queen Charlotte (1744 – 1818) recognisably had some black African ancestry. In 2023 spin-off Queen Charlotte: A Bridgerton Story, she is played by India Amarteifio, who has part-black African heritage. Channel 5’s 2021 miniseries Anne Boleyn has Jodie Turner-Smith, of Jamaican heritage, cast as Henry VIII’s second wife. These are examples of one of the bugbears of right-wing online commentators, which they would call ‘race-swapping’. Criticisms of the casting in Netflix’s 2023 docudrama Queen Cleopatra weren’t only limited to social media posts, though. Egypt’s Ministry of Tourism and Antiquities issued a stern statement that Adele James, of Jamaican and British heritage, portraying the Egyptian queen was a falsification of history in that she actually had ‘white skin and Hellenistic characteristics’ (tinyurl.com/62rapzjw).

The reverse was more common in old dramas, with white actors often playing non-white historical figures. As recently as 2014, director Ridley Scott said that he cast white actors in his Biblical epic Exodus: Gods and Kings because ‘I can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such’ (tinyurl.com/2xnkkj2v). While the landscape has changed a lot even since Exodus, what has remained the same is that those working in the media have to follow whichever approach will attract the most investment and viewers, who also represent income. The recent emphasis on diversity and inclusion is hoped to fit in with the values of those (mainly younger) people in the target market. This is shown most clearly in the increase of non-white people in TV adverts. A more diverse cast is intended to reach a more diverse audience, to attract a more diverse range of people to part with their money to make profits for the elite.

Another motivation is that films need to be made by or cast a set proportion of people from hitherto under-represented groups to be considered for some Academy Awards and BAFTAs. Awards don’t just give recognition for talent; they also confer financial advantage in being another advert for the film, and award-winning artistes can attract more revenue.

So, the emphasis on diversity on TV and in film has economic explanations, alongside sincere attempts to improve the profile and opportunities of groups of people who have traditionally been disadvantaged. This disadvantage has itself stemmed from economic circumstances, when non-white people have been seen as less attractive in the labour market.

Right-wing commentators on social media have been particularly vocal with their view that representations of ethnicity on TV and film demonstrate that ‘woke’ leftists have infiltrated the industry. This discussion generates attention, and therefore more publicity. Hardly anyone would have heard of Channel 5’s Anne Boleyn series if it hadn’t provoked blather about its lead actor. Predictably, much of the left and right’s discourse is bitter and combative in tone, casting aspersions and fuelling division.

Does it matter if the past is depicted on our screens in a way which doesn’t accurately reflect what it was like? A drama showing non-white characters in improbable positions of status for the time risks dismissing the actual societal restrictions which have been imposed on some groups. While there were a small number of privileged black people in Regency era Britain, such as Ignatius Sancho and Dido Elizabeth Belle, a black family wouldn’t have been as wealthy and powerful among the English elite of the early 1800s as the fictional Bridgertons. Their lifestyles would bear no relation to those of the people from Africa still trapped in the slave trade at the time. Another drama set in the same era which gives a misleading impression is 2022’s The Woman King. This film retells the story of the Agojie, a female warrior unit of the West African kingdom of Dahomey (now Benin), as an example of empowered black women, downplaying the patriarchal and slave-based system of which they were part. The inaccuracies undermine the strength which the messages of emancipation or equality aim for.

An important distinction between these dramas is in how they are pitched. With Bridgerton, Exodus: Gods and Kings and Anne Boleyn, there’s a stated or unstated understanding that what’s on screen is not historically accurate, with this looseness giving a wider range of actors the chance to explore roles. With Queen Cleopatra, Queen Charlotte and The Woman King, there are some claims for authenticity, which invite more scrutiny. Unfortunately, the way the ‘culture war’ over historical dramas is usually fought online distracts from recognising the economic context in which the debate has arisen.

Mike Foster

Blogger's Note:

Small Axe was reviewed in the January 2021 issue of the Socialist Standard.

Cultures, multi and otherwise (2021)

From the June 2021 issue of the Socialist Standard

Back in 2011, in a speech at a security conference, then Prime Minister David Cameron discussed extremism and Islamist terrorism. He noted that Islam and extremism were not the same, and saw the issue of identity as crucial to why some young Muslims were drawn to extremist views:

 ‘In the UK, some young men find it hard to identify with the traditional Islam practised at home by their parents, whose customs can seem staid when transplanted to modern Western countries. But these young men also find it hard to identify with Britain too, because we have allowed the weakening of our collective identity. Under the doctrine of state multiculturalism, we have encouraged different cultures to live separate lives, apart from each other and apart from the mainstream’.

State multiculturalism was thus seen as implying separation, with people from different cultures living in their own distinct ways, perhaps with little integration with those from other cultures. Society, Cameron went on, should not just be passively tolerant; rather it should pursue ‘a much more active, muscular liberalism’, promoting freedom of speech, the rule of law, equal rights and so on. What was needed, he claimed, was ‘a clear sense of shared national identity that is open to everyone.’

But just what is multiculturalism (state or otherwise)? And how do politicians and others use this concept to construct arguments and policies? And what might a shared national identity consist of?

In Keywords, Raymond Williams describes culture as ‘one of the two or three most complicated words in the English language’, due to both its complex history (related to cultivation, among others) and its variety of current uses. On the one hand, it involves such activities as cinema, theatre, museums, music, and so on. But also it can refer to the kind of topics studied in cultural or social anthropology: a way of living, covering religion, language, kinship and family structure, work and production, food and diet, rural vs urban, and customs in some general sense. It is this last meaning which the idea of multiculturalism takes up: the position that a society consists of a number of different cultures, and it would be preferable if that were not the case or the differences were much reduced.

A detailed critique of multiculturalism is found in The British Dream by David Goodhart. The concept, he says, ‘has come to refer to the arrival of non-European, “visible” immigrants in western countries in recent decades and their political and social interaction with the majority society’, but apparently it ‘also implies a favourable and accommodating attitude to the arrival on the part of the majority society’. There are two versions: liberal multiculturalism expects immigrants to integrate into mainstream society, while the separatist version ‘privileges minority identities over common citizenship’ and thus slows down integration. The separatist variety in particular states that immigrants do not need to adapt, other than in relatively minor ways, to the society they now live in. As usual in such accounts, immigrants are not just those who have themselves migrated but their children and grandchildren at least too (second- and third-generation immigrants).

Opponents of multiculturalism, of whichever version, usually emphasise the lack of integration by immigrants and their descendants. At one level, this encompasses support, or at least toleration, for practices such as forced marriage and female genital mutilation. It can also extend to segregation in terms of residence, with towns such as Bradford and Oldham being highly segregated, with immigrant populations living in particular areas where most of the residents are immigrants from the same region, Pakistan and Kashmir serving as examples. Eric Kaufmann (nationalreview.com, 6 February, 2019) identified a supposed contradiction at the heart of multiculturalism: ‘White majorities are compelled to be cosmopolitan, urged to supersede their ascribed identity. Minorities are enjoined to do the reverse.’ Multiculturalism was thus asymmetric, making different demands on ‘natives’ and immigrants, with the latter getting an easier ride. This is seen as one of the main reasons behind the rise of populism, which often views immigrants as not truly part of ‘the people’.

According to the Fabian Society, Blair’s Labour government from 1997 was the most multicultural in Britain, if not in Europe, introducing faith schools, bringing Muslims into governance and passing the Race Relations (Amendment) Act 2000, seen as a positive step. This made it illegal to discriminate in immigration matters on grounds of race or colour but, as Maya Goodfellow points out in Hostile Environment, it permitted discrimination on grounds of nationality or ethnic origin. New Labour, she says, also dehumanised asylum seekers, and all in all their policies and rhetoric ‘helped to embed anti-immigration ideas into British politics’. So the 2000 Act and Labour’s policies more generally were by no means all their supporters claimed them to be.

Opponents of multiculturalism seldom identify specifically what counts as British culture. Perhaps it is such things as having a sense of fair play, keeping a stiff upper lip and not pushing in at the front of a queue. Or football, the pub, Christmas shopping, holidaying in Spain, a Chinese or Indian takeaway, talking about the weather, and so on.

The socialist view is that multiculturalism is a misplaced and irrelevant idea, that being for or against it really misses the point. Putting people into categories (Muslim, immigrant, whatever) ignores the fact that people have far more in common than these labels suggest. We are all human beings, and under capitalism most of us are members of the working class, forced to work for a wage or dependent on someone who does so. Thus we are all subject to the exploitation of capitalism, and to varying degrees to its inequalities and discrimination. People differ of course: gender, sexual orientation, abilities, interests, but allotting people to pigeon-holes disguises what brings us together. Nations are artificial entities, and the ‘shared national identity’ mentioned by Cameron would have to be invented and constantly reinforced by propaganda.

Goodhart identifies a trend he terms ‘post-nationalism’, which he ascribes to George Monbiot and Danny Dorling: a view which supposedly rejects all national borders and emphasises universalism and support of the interests of everyone globally, not just those of one nationality. We need not concern ourselves with how accurately this reflects the actual views of Monbiot and Dorling, just point out that in this sense socialists are post-nationalists. Socialism will be a global society, with no countries or borders or passports, where the whole idea of migration, if it exists at all, will be purely geographic. As for culture, it will be up to people in socialism to organise their lives as they wish. We cannot predict now, but there are likely to still be differences such as language, diet, sport and so on. This of course does not mean permitting such barbaric practices as FGM. Aspects of climate will result in differences in how people live, with some finding ways to pass the long winter nights while others will spend far more time outdoors, with some places perhaps having siestas.

In the words of the Chinese saying, ‘Let a hundred flowers bloom’. Though later hijacked by Mao Zedong, this expresses well the idea that people in a socialist world will be able to live as they wish, as long as it does not infringe on the freedom of others.

Paul Bennett