House Of Cards Season 1, Episode 2; Season 1, Episode 13; Season 2, Episode 13

Title: House of Cards Season 1, Episode 2; Season 1, Episode 13; Season 2, Episode 13
Tags: power, capital, Bourdieu, Power Elite, Mills
Authors: Jordan Ricker and Holly Stokes
Date: March 23, 2015

2nd video clip: Season 1, Episode 13, minute 16 to 16:25

3rd video clip: Season 2, Episode 13, minute 30:20 to 31:20

Summary: This is a selection of three clips that illustrate Frank and Remy's contrasting views on the most important thing to strive after - money or power. It is a series of exchanges between the two ranging from the second episode of the first season, "Chapter 2" until the end of the second season in "Chapter 26." While Remy used to work for Frank, he has now moved up in influence, largely because of his financial accumulations. This past relationship, plus their differing views on whether money or power is more important, plays a large role in House of Cards. These three excerpts are some of the best-distilled quotes that summarize the different approaches.

Analysis: 
What is the most meaningful form of capital?
In Pierre’s Bourdieu's 1986 The Forms of Capital, he argues that the three forms of capital are economic, social, and cultural with economic being the end goal and most meaningful. In House of Cards, Frank’s personal beliefs contradict those of Bourdieu because Frank argues that true power is not possible to gain from purely economic capital. He believes that power is a stable structure built through networking and social capital. It is not flashy, it is not financially based, it is a social and political power that is fortified through connections and traditions. This is very well expressed when he says, “Money is the Mc-mansion in Sarasota that starts falling apart after 10 years. Power is the old stone building that stands for centuries” (4:48). Frank’s view of power is extremely human-focused, wherein he contradicts Bourdieu and argues that politicians and “old money” are the most important players of the political elite described by C. Wright Mills. 
Remy, on the other hand, argues with Bourdieu’s view that economic capital is the strongest form of capital. Remy believes that money rules all and that the temporary and quick building of economic capital does not diminish its power – in fact, it augments it because it does not take as much time to accumulate. In his view, money is actually more long lasting than Frank’s view of “power” because alliances can change and whither over time but money will not. Economic influence does not need to be continuously cultivated. Remy believes the “corporate elite” are the most powerful of the Power Elite theory espoused by Mills. While both of these central characters in House of Cards seem to be focusing on the best way to influence other people – that is, to get what they want from others, they each believe that their respective way of going about it is the best. Reader, what do you think is the most meaningful form of capital? Who possesses it and who is able to possess it? And lastly, is capital the determining aspect of power relations in the world today?

House of Cards, Season 1, Episode 1

Title: House of Cards, Season 1, Episode 1

Tags: media power, Freedman, contradiction, control, influence, arrangement

Author: Kirsten Murphy

Date: March 23^rd, 2015

Episode Summary: In this opening episode of the popular Netflix series House of Cards, viewers get an introduction into all that the series has come to stand for  - political maneuvering, power plays, bargaining using influence and power, and the personal motivations of society’s power elite. In this episode we are introduced to many of the main characters in the first season of the series – Frank and Claire Underwood, Peter Russo, Doug Stamper, Zoe Barnes, and the like. The clip that I have choosen shows the initial meeting between Zoe and Frank; a meeting that Zoe initiated by showing up at Frank’s personal residence.

Analysis: In the first chapter of his book The Contradictions of Media Power Des Freedman discusses how contradiction is one of the four major paradigms in media power. Freedman explains that media power is an interested force, but one that is tied to existing reproductions of power through relationships. This clip is a good example of this because Zoe (who represents media power) must offer many concessions to Frank (who represents existing reproductions of power, or government) in order to gain influence. Although media is formally separated from the state, it is still intertwined with it – as can be seen later on when Zoe and Frank heighten their arrangement to one that is also sexual.

Furthermore, as Freedman explains in his book, power is the “relationship between different interests engaged in struggles for a range of objectives that include legitimation, influence, control, status, and increasingly, profit.” In this clip there is a struggle for all of these things between Zoe and Frank. Zoe wants the legitimation, status, and profit that having information from an influential senator like Frank can give her. Frank wants to have influence and control over the media, by controlling Zoe and what she prints. In this balance of power Frank has the advantage so Zoe must offer concessions like printing whatever she is told to, and not asking any questions. This further illustrates how media power must work within government stipulations, or existing reproductions of power in other words. Examples of this in the real world can be seen in government censorship, and controlled media releases from government officials.

Ultimately, as Freedman explains, media power is only as strong as readers and viewers allow it to be. Yet it is also only as strong as existing power structures, like the government, allows it to be. This can be seen through Frank and Zoe’s arrangement that originates in this clip. Later on in the series, Zoe (media power) will try to become stronger and more independent, but Frank (government) will still have a level of influence and control that dominates over Zoe’s media power.

Tyrant

Mohammed Dawoud
Felix Mettke
Sima Al Tabbaa

The first scene depicts the power relations between the top and bottom of society. This can be seen when the King of the country gets into his Lamborghini. Not only does this clearly depicts the economic differentiations between the bottom and top of society, but also shows us the possible consequences of not accepting these relations. In the scene we can also see that the majority of the people surrounding the Lamborghini are actually low in economic status, yet do not try to steal the Lamborghini. This shows us the power hierarchy present throughout the nation, as the majority of the population fears to overthrow their superiors. This is likely because such acts will be punished in harsh ways, showing us that the power elite of this country is also in control of military operations and other forms of social infrastructure such as police force etc.
 

Not only does it show the power of economic might, and how one is born into this power spectrum, but also the unequal power distribution. Whereas the King is able to drive around in a Lamborghini, the rest of society can only admire him or be jealous of his possessions. This also represents a form of everyday power relations happening inside the country, where the majority of the population is not in a negotiating position when it comes to available power. The power present is not one of reward, or superior knowledge, but rather a matter of growing up in a certain social group. This is extreme position of power is not similar to the one found in the United States. In the United States there are no single entities holding might over the population, but rather the combination of a large variety of powerful actors.

We chose to use this scene of the first episode as it can help us examine the elites present in the made up country of the TV show. In his book of the Power Elite, C Wright Mills studied the concentration processes happening in the United States and how leads to an emergence of a power elite. A similar form of power was also present in our TV show, as the power triangle that Mills describes in his book was also present. The elite in our case represents a powerful family whose power expands to the circles of politics, military and economy. The royal family can therefore serve as a representation of an exclusive club that is able to run each and every aspect of social structure. It is a unique form of power play, as one cannot enter this narrow circle unless it happens due to family relations. This is why it also presents us with a form of hegemony that rules over justice, business, media and military. The scene we presented can be used to analyze the interdependence of the power elite present in the country. Since the ruling family can afford the best of the best due to their social class they tend to purchase their belongings, cars, clothes from outside the country. In the scene you see him driving a Lamborghini, which is Italian, the people around him have probably never seen such a car expect on the Internet because they live in very poor conditions. Mills uses an example of power elite and how it works in the United States, However in “Abudeen” the country in the show which represents the country of Iraq, power is taken into a whole other level and is abused in all forms. With the power they have over the country, no one can question them or what they do. As mentioned before having military power can play a big role in ruling the country because even of people decide to have a revolution they do not have any military power or weapons in order to defend themselves. Another example how close the family is to each other and how each member of the family more or less have been put in high positions in running the country to make sure that no one can oppose them.

Homeland, Season 1, Episode 1

Title: Homeland, Season 1, Episode 1
Tags: Military Elites, Power Dynamics, Military Power, Status
Author: M. Giglioni
Date: 30 April 2015


Summary Analysis: Homeland is an American Television thriller produced by Showtime adapted from the 2010 Israeli drama series Prisoners of War. While it centers on the life of Sgt. Nicholas Brody, a recently released P.O.W. from the War on Terror, the show also features members of the CIA tasked with outing a possible P.O.W. turned sleeper agent by his captors. At its core, this drama/thriller serves as a discursive platform for the variety of power systems at play within the US military and government bodies while also touching on points relating to the civilian perspective on the Global war on terror and the life of a soldiers family. Each of these individual components aims to explicate a different form of power dynamic. However the most visible are those pertaining to the military systems of power as suggested by C. Wright Mills in his book The Power Elite, and the hierarchical power system made evident by Homeland’s focus on the internal dynamics at play within the CIA. This critique of Military Power Elites presents itself plainly within the bounds of the first episode of the series. Most primarily we are exposed to one of Mills’ core critiques of Military Elites in that a great deal of trust is afforded to Brody without regard for actual evidence to support his position in people’s eyes other than the fact that he has served in the military. Mill’s particularly points out that those who are esteemed members of the Military realm often have great influence over their colleagues in other fields of power (p.198). While Mill’s applies this most directly to high ranking officers (Generals and Admiral) such a concept can be generalized to include Sgt. Brody in this context as his particular situation allows him to be held in high standing by sheer virtue of the nature of his service. In short, throughout this episode we can see Brody passively utilizing his power status as he does little to imply that he should be implicitly trusted, instead his service record and time as a P.O.W. does this work for him. As a result, those around Brody treat him respectably despite the inherent fact that he may actually be a sleeper agent turned by his terrorist captors.

House of Cards: Power in the Modern State

House of Cards: Power in the Modern State
Capacity, Mills, power, power elite, religion, state

By Ashley Vandehey

https://youtu.be/DjhCemxQmts

            Episode Summary

Frank has a secret meeting in a church late at night, the same day that he makes a presidential decision that cost the lives of American Navy SEALs (an event which draws similarities to Operation Neptune Spear, carried out by SEAL team Six). The man Frank is speaking with, a military priest, tells him he was not chosen to rise to power and greatness. Then, pointing at the crucifix of Jesus says, "He is the only chosen one.” The man leaves and Frank goes to look up to Jesus wherein he says, "Love, that's what you're selling. Well I don't buy it." Frank then spits on Jesus. 
When he goes to wipe it off the figure comes crashing down and shatters all around Frank. As he leaves the church he takes the broken ear of the figure and says, "Well I've got God's ear now."


            Analysis

The Netflix television series House of Cards can do just about whatever it likes since it is not affiliated with a network; this includes addressing faith and religion with a certain vehemence that is not found in traditional network television series. House of Cards is able to confront the intersection of politics and faith like no other. This scene captures power dynamics relative to both the series and state governance. In it we see Frank’s true ethos to power. For a brief moment in this scene, we witness what could be the rediscovery of Frank’s moral compass (since we’re all fairly sure he lost his). But once alone, he commits what a shocking display of sacrilege that would never have been shown on network television. The fact that an episode, and a scene, like this alone cannot be broadcast on network television but through Netflix is additionally telling to who has power over the media. It is also incredibly symbolic towards where power is held in the modern state.

            On a microanalysis level, this scene further shows that the character Frank does not allow any outer power or agenda to surpass or interfere with his own. He worships his own power and capacity to fulfill he wants and needs, and refuses to rely on anyone else. I believe that is because when you rely on someone else, you are inadvertently giving them power over you. Kant referred to true enlightenment as thinking for oneself without needing the guidance of others, so in that respect Frank could be seen as wholly enlightened. Foucault believed that there is a deep and intimate connection between power and knowledge that makes their influence effective. Power in this respect coincides with Marx and Webber’s definition, in that it is the realization of one’s will despite the resistance of others, or in this scene, despite the gospels of Jesus. This scene coincides with another from Season 1 Chapter 13 where Frank says that he prays to himself, for himself. To Frank, his capacity, or ability to possess and carryout power and tasks, is greater than all those around him—save perhaps his wife Claire. The Gospel of Frank Underwood is that power is power, and he can whip anyone to his will whether they’re aware of it or not.

            The cinematography is expressing the power struggle between the modern roles of church and state. For centuries, before the rise of the modern state with the Treaty of Westphalia, the clergy held a majority of power both in government and personal lives. In Wells’s book, “The Power Elite” he dedicates chapters to relevant sources of power in the United States. Not one of these chapters is entitles The Clergy, or The Church, which I believe is truly relevant to the cycle of power dynamics in human history. Had a book on the power elite been written 200 years ago, the church would have without a doubt been a major influencer and propagator of power. The church and religion (at least in a Western context) has lost a lot of the power and influence it once had, while we see the rise of celebrity as a guide to moral behavior.

References

Gates, T., & Eason, L. (2015). Chapter 30 [episode 4]. In House of Cards. Netflix.