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.

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.