Title: Orange is the New Black, Season 1, Episode 13

Title: Orange is the New Black, Season 1, Episode 13 

Author: Medina Kayoumy 

Date: March 23rd 2015 

Link here to watch

Analysis: 

During the last few minutes of the first season of Orange is the New Black, the conflict between Piper and Tiffany demonstrate the many different levels of power expressed throughout the show. Tiffany a prisoner who believes to have strong faith and connection to God, does not approve of Piper’s life decisions in regards to sexuality as well as other pervious conflicts. The prison guard, Mr. Healy treated Piper like an equal in the beginning hoping to get along with her but after learning of her “lesbian” actions lets out his homophobia and rage. Healy ignores and gives Tiffany the opportunity to attack Piper in the name of God. This short clip demonstrates the power dynamics the guards have over the prisoners and how power can be distributed among the prisoners. Tiffany’s mocking and use of words, gave both her and Piper a degree of mental power to be willing to fight against each other. Tiffany believing she has the power of God behind her, while Piper’s angry and rage are being produced as she hears Tiffany threat and mock her. Piper had lost much of her social capital in the prison making her a easier target, as she lacked support from those more powerful than her. Her physical and mental power gave her the rage to fight back and lack any sort of fear. Even with a lack of capital, Piper’s personal power gave her the ability to fight the odds. 

Bourdieu’s concept of cultural, social and economic capital can be applied to this show in many regards. Cultural capital was the defining point on where someone stood in the prison. Based on cultural background social groups were decided and limited which group a prisoner could belong too. Social capital refers to the resources one gains by belonging to a group, the relationships they have and networks of influence. Prisoners strived off social capital, they were able to stay safe because of who they know and who supported them. Through economic capital the prisoners could reach out to larger social groups as well as increase their influence. Economic capital in the prison was related to what supplies one had access to in the prison; being able to trade items and having jobs in the kitchen for instance allowed for a great deal of power. The particularly power prisoners also received more influence among the prison guards, as they could promise control over other prisoners. 

Downton Abbey, Season 5, Episode 1 (clip: minute: 10:20)

Title: Downton Abbey, Season 5, Episode 1 (clip: minute: 10:20)

Tags: established power, expectation, power dynamics, Power Elites, power positioning, right to power, social structure, social vs. political power, strategic command posts, symbolic power, tradition

Author: Savannah Hillebrand

Date: March 23, 2015

Summary: 

       The first episode of season one contains many allusions to the changing times of 1924. One of the most significant of the instances in which this theme is illustrated is when the villagers ask Carson, Downton’s butler, to head the committee of the war memorial instead of Lord Gratham. This surprises and unsettles Lord Gratham and puts Carson in an uncomfortable position, as his social standing and his traditional values are questioned.

Analysis: 

      Many of the concepts of C. Wright Mills, author of The Power Elite, can be applied handily to various episodes of power dynamics found in Downton Abbey. The social influence that such power elites possess is addressed in this affirmation by Mills: “They [the power elite] occupy the strategic command posts of the social structure, in which are now centered the effective means of the power and the wealth and the celebrity which they enjoy” (Mills, The Power Elite, p. 4). This quote is about symbolic power and power positioning. Power is a tool and a resource and can function as a way to establish rules within society of “who befits what.” This quote hits a couple crucial points, such as how the old aristocracy occupies a strategic command post within the established social structure, which is the foundation of their power, wealth, and celebrity. It successfully illustrates how certain members of the elite, those who are not necessarily directly involved in political processes, yet contain great influence and sway in the social realm, rely on their established, inherited, bestowed, and symbolic power, which is crucial to maintaining their privileged position and social authority.

       In this video clip, Lord Grantham expects tradition and adherence to the codes of comportment of established class structures to dictate all “scenes of the script.” Therefore, he is shocked when the villagers ask Carson (his butler) to head the committee, instead of asking him, on whom everyone expects the honor to be bestowed. Robert is accustomed to being the bearer of the greatest social influence, and cannot help but believe deep down that he is the rightful and appropriate figurehead of any village initiative. Though honored by the offer, Carson is also deeply uncomfortable with the prospect, and his reaction is perhaps the most fascinating to consider from a power analysis perspective. Here we see deference to an established, traditional power that has been accepted as completely legitimate, even though the power does not make a formal advance to assert its dominance over that which is "subordinate."  Despite this, Carson feels bound to perpetuate the old, established norms. His conflicted state has less to do with respect for Robert per say, and more to do with feeling compelled to align his actions with the established power dynamics of the time, which dictate that it is appropriate for the committee to extend the honor to Robert, who is of a much higher socio-economic standing (and thus occupies a position of great power) than Carson is. 

Downton Abbey, Season 2 Episode 8 (25:39-27:10)

Title: Downton Abbey, Season 2 Episode 8 (25:39-27:10)

Tags: Power Elites, Power Positions, Social hierarchy, Social norms, social structure, Access to power, 

Author: T. Stachowiak

Date: April 27th, 2015

Click Here to View Episode

Downton Abbey:

The PBS and BBC Masterpiece drama, Downton Abbey, focuses on the Crawley family and residents of the household during 1912-1924. It is a perfect example of Mills classical power display, focusing on how the aristocracy and the household staff interact. Focusing on Mills’ Theory of Balance and how the characters uphold and challenge their society’s social structures. “It is very difficult to give up the old model of power as an automatic balance, with its assumptions of a plurality of independent, relatively equal, and conflicting groups of the balancing society.” (p.234) Thus, we can see Mills’ theories enacted in which all social classes work to maintain the norm. Mills’ theory of balance includes Tom Branson, a chauffeur, and Lady Sybil, daughter of Lord Grantham. They, unlike Carson, challenge the balance because they fall in love and want to be married. They try to change the minds of the aristocracy, however Lord Grantham greatly opposes because he thinks he knows what is best for Sybil. In his efforts to stop the marriage he tries to pay off Tom so he will leave the family alone. Tom doesn’t take the money and he states that he will not take the money because not everyone can be paid off like ‘people of his kind’ think is possible for every situation. This statement also shows that Branson tries to show that he deserves social power although he is 'under' Lord Grantham. This scene also displays the transition of power happening during the time. 

Game of Thrones: Season 2, Episode 1

Title: Game of Thrones: Season 2, Episode 1
Tags: Positions, Three-Dimensional Power, False Consciousness, Latent Conflict
Authors: N. Wolosker, K. Alem, Z. Piskacova
Date: March 23, 2015

Summary:
This episode of Game of Thrones, entitled "The North Remembers," begins with the seven kingdoms at war, mostly as a result of the decapitation of Ned Stark, lord of Winterfell, by King Joffrey. Ned Stark's daughters Arya and Sansa became pawns in the war after his death, resulting in Arya's fleeing and disappearing from King's Landing. Upon realizing the gravity that follows her disappearance, Cersei, the queen mother, asks Lord Petyr Baelish to locate Arya. Baelish, a self-made man with all the right connections and great amount of influence and power, agrees, but their exchange reflects the tensions of the times, and Cersei insults him. As retribution, Lord Baelish, who manages to know all secrets, suggests to Cersei that he knows of her affair with her brother and the possibility of Joffrey's parentage not being that which everyone believes. As a result, Cersei makes an overt display of power that cements both their positions in the power hierarchy.

Analysis:

Mills’ concept of “positions” is prominent in this excerpt. According to Mills, a powerful position refers to the possession of wealth, prestige, and connections, which make one powerful regardless of one’s competence (Mills, 2000, p. 369). Here, despite Baelish’s awareness of Cersei’s compromising incestuous relationship and his claim that “knowledge is power”, Cersei demonstrates that her position as queen makes her more powerful because she is able to mobilize the guards to obey her every whims, reflected in her control of Baelish’s life. As Mills asserts, “Power is not of a man… to have power requires access to major institutions…” (2000, p.11). With her position, Cersei monopolizes wealth, prestige, and power, closing elite rank to ambitious people like Baelish (Mills, 2000, p. 12). The Lannister family’s position is powerful as the incest repeatedly fails to become common knowledge. However, this excerpt fails to acknowledge the potential of the self-made man. Although Baelish is portrayed as inferior to Cersei due to their different “titles”, Baelish’s knowledge do grant him great power eventually. The elite circle is not really closed because as positions can stay fixed, the people occupying those positions can change since position on its own is not enough to secure power. Cersei has an upper hand now because of her position and her strong and smart character while Baelish currently possesses only qualities without position. Established upper-class position vs. newcomers often meet in tension as the newcomer (Baelish) seeks the prestige of the former while the established upper-class (Cersei) views the newcomer as “lacking the cultured life befitting the [upper] ranks” (Mills, 2000, p. 34.).

Another concept that this particular scene demonstrates is the consequence of a poor performance of what Steven Lukes calls three-dimensional power, which “allows for consideration of the many ways in which potential issues are kept out of politics,” (Lukes, 2005, p. 28). Baelish’s remark of Cersei’s improper relationship questions the legitimacy of her power as a queen mother and indicates the Lannister’s partial failure in creating a false consciousness. If the Lannister’s policy was successful, no one would have been aware of the latent conflict at hand. As Lukes explains, latent conflict “consists in a contradiction between the interests of those exercising power and the real interests of those they exclude.” (2005, p. 28). While Cersei’s main interest is to stay in the power, the non-decision makers’ interest lies in having a legitimate ruler. Yet unlike Baelish, the majority of the population is affected by the Lannister’s indoctrination and therefore are not aware of their real interest. Consequently, the Westeros peasants do not question the ruler’s legitimacy. In order to keep this partial sense of ignorance, Cersei resorts to a demonstration of behavioural power to suppress any potential for vocalization. In doing so, she secures the compliance of the people through shaping their beliefs.

House of Cards, Season 1, Episode 9 (15:20-17:40)

Title: House of Cards, Season 1, Episode 9 (15:20-17:40)

Tags: power, media, Freedman, control, relationships

Author: Julie G

Date: March 23, 2015

 Click Here to View the Episode

Summary: 

House of Cards is an intriguing and captivating political drama focused on the power wielded by a fictional U.S. Congressman, Frank Underwood. Frank Underwood is the epitome of an old-school realist politician; he believes in power for power’s sake and aims to always be the one pulling the strings and moving the actors around on stage. By the ninth episode of the first season, Frank has built up a significant relationship with Zoe, a young journalist protégée, who has thus far played the game according to Frank’s rules. However, in this video clip, Zoe tries to limit Frank’s power over her by ending their sexual affair. Upon hearing this, Frank, who is always used to having full control over all the actors in his life, is less than pleased, despite his reassuring words to her. At the end of the clip, he cynically says, “She wants to be an adult; let’s see how she can fly once she leaves the nest.”

Analysis:

This brief clip provides an excellent opportunity to examine Des Freedman’s view of the power of the media as presented in his text The Contradictions of Media Power. As a high-ranking politician, Frank is used to having the media at his constant beck-and-call. As Freedman states, the media holds no great power by itself, but instead services power for others, allowing certain voices and agendas to be disseminated through their pen. “Media power, according to this view, is like a junior partner in a coalition dominated by more established social forces like religion, armies, politicians or corporations” (Freedman 8). Frank’s attitude and actions reflect his agreement with Freedman; the media is a lesser power that should operate only by the rules he, the politician and the superior, sets. When Frank realizes that Zoe intends to overstep this power hierarchy by ending the physical part of their relationship, he is entirely displeased. Despite his words to her, Frank decides to punish her by “letting her see how she can fly.” Thus, in the rest of the episode, he gives her the cold shoulder, not giving her any new information. As Frank later says, “sex is about power,” and without direct power over Zoe, he risks losing control over her. Without immediate control, there would be the possibility that Zoe would no longer service his political needs in her journalistic endeavors. Thus, she would become an unreliable and useless source for promoting his political agenda. Throughout the rest of the episode, he ignores her in order to reestablish the power hierarchy, in the end forcing her to sleep with him to gain new information. Although his plan is risky, he successfully manipulates Zoe back to her earlier state of “junior partner.” As Freedman explains, media power is fundamentally based on relationships cultivated by the media themselves (30). By ending a part of her relationship with Frank, Zoe unknowingly sabotages her power over and access to Frank. Additionally, Freedman talks about how access to the media is fundamentally unequal throughout society (30). In relation to House of Cards, Frank is one of the privileged few who does not suffer from access to media institutions. In fact, Frank would argue that the media suffers from inadequate access to him, and those lucky journalists that do gain access must service his agenda in order to get their story.

Tyrant, Season 1, Episode 4 (14:04-16:17)

Tags: capacity, culture, decision making, positions, power elite 
Author: Jasmine Brown 
Date: April 26th, 2015

Watch Here

          In this excerpt from the show Tyrant, the viewer is presented first and foremost with a quite literal demonstration of what C. Wright Mills identifies as the three central domains of power in society: the military, corporate and political elite. In this scene, the President of Abbudin (a fictional Middle Eastern country), Jamal Al-Fayeed, is consulting his counsel of advisors, among who are his uncle and leader of the military, Tariq, and his brother Bassam, a doctor recently returned from the United States. Thus there is a member of the political elite (the president), the military elite (head of the military), and the corporate elite (a doctor) all participating in the same conversation through which one can observe how their interaction leads to decision-making.
          Due to his position as the president, Jamal possesses the most power in terms of the final say in decision-making and the ability to exercise his decisions; however his decisions are not made in isolation. Jamal most highly values the advice and opinion of his brother Bassam and therefor his decisions are for the most part Bassam’s decisions. So although Jamal may have the greatest capacity for power (as Lukes says), Bassam’s position as the brother wields the most influence. If we recall the definition of power as the capacity or ability to direct or influence the behavior of others, it becomes slightly more difficult to trace the seat of power even from a very observable and one-dimensional perspective. Perhaps Bassam is the most powerful elite member in the room; however this can only be observed through a two- or three-dimensional analysis.
          Furthermore, the theories of Mills and Lukes have been largely influenced by the social structure of the United States as this was their primary area of study. It is interesting then to apply their thought to Tyrant, which is set in a very different cultural context. Here we witness family itself as an elite position within Middle Eastern cultures. Nepotism is an intrinsic aspect of this culture, with members of the same elite family commonly belonging to each of the three power elite domains. This also reflects Mills' idea that, for the elite, it is relatively easy to move between elite circles. In the United States, the military leader with his years of experience would likely have a stronger influence over the president’s decision than would the president’s brother. In the excerpt, however, we observed that this was not the case. Although the military leader is also a family member, the position of brother is more highly valued. In this example we can see that these theories cannot necessarily be applied universally; certain positions in one cultural context may possess more power than they would in another.

Orange is the New Black, Season 2, Episode 11 (minute 43:40- 44:50)

Title: Orange is the New Black, Season 2, Episode 11 (minute 43:40-44:50)
Tags: Freedom of expression, Neoliberalism, Power relations, Dimensions of power, Over and covert power, Subjective interests, Decision making
Authors: Maria Cely, Lauren Sherman, Jessica Bonnett
Date: March 23rd, 2015

Watch the Episode Here

This clip, located in season two, episode eleven of Orange is the New Black, illustrates Luke’s three dimensions of power and is briefly associated with Chomsky’s illusions to neoliberalism. The scene takes place in an episode where the prisoners are practicing what they believe to be their “right” to free speech through creating and distributing a newsletter and participating in a hunger strike.

In this extract it is possible to observe how one-dimensional power takes place with the decision making of the character Figueroa. She is the decision maker of the prison and decides to take away the freedom of speech within the prison by suppressing the newsletter that was being published and not allowing the inmates to make hunger strike posters. Figueroa states her decision very clearly and loudly, making it an overt decision on an overt subject, which is ultimately for a subjective reason. The reason behind the banning of freedom of speech is to maintain the prison’s reputation, but ultimately the reputation of her and her husband. Nevertheless, Figueroa justifies her actions by whispering to Caputo that she is a defender of women.

Luke’s two-dimensional power is manifest in two ways by the prisoners. One is the hunger strike practiced by the nun, Soso, and the yoga teacher. Their decision not to eat represents an attempt to display that they still have control over their own bodies. They mainly participate in the hunger strike to bring awareness to key issues that satisfy their subjective interests and well-being. Soso is doing it to maintain her values after she was forced to take a shower, while the yoga teacher is rebelling against Shoe being used as a punishment and the nun is doing it in response to her old friend being thrown out on the street to die. In addition to the hunger strike, Piper has started a prison newsletter that serves as a source of covert power of the prisoners who post their own articles and cartoons, making fun of those who have power over them as a sort of an inside joke.

            The third power dimension is represented throughout this scene when observing the prisoners’ actions and reactions. They set an agenda of what they want to see and what they want to be changed in the prison through a newsletter. This agenda setting is prompted by their assumption of still being in a neoliberal atmosphere, where they have freedoms of speech and expression, but they soon realize that these articulations of neoliberal policies are no longer recognized in prison. Their freedoms have been stripped from them, including rights over their own bodies. This latent conflict shows that the prisoners’ backgrounds and cultures have led them to believe that they have these rights and freedoms, while Figueroa quickly shows them that they do not within the prison walls. The interest of freedom of speech is real, and the prisoners are fighting for this objective interest to fulfill their own subjective interests afterwards.