How do moral panics help form or fragment cultural identity?

A society is moulded by influential trends which, in turn, enable other members of the public to follow, or rebel in another trend. A moral panic is a negative reaction to a trend as the general public feel it is a threat to the society’s values. As a result of these moral panics, cultural identity shifts as the folk devil and initial crisis either merge into the standards of the social order or are resolved by bringing in new laws or measures.

As a result of these moral panics, two appropriate models were made in order to monitor the process of the crisis and decide whether or not it should be classed as a moral panic. They both contain a number of stages, each specifying what is to be expected within in a moral panic. The first to be put into practice was the ‘Processual Model’ created by Stanley Cohen. This model consists of seven stages, for example, the first; ‘Emergence – when a form or behaviour becomes a threat.’ Throughout the model, it explains how the moral panic is handled before being resolved and finally, ‘submerging into the culture’ and creating a legacy of changing people’s views, thus our cultural identity. This ‘Processual Model’ could be seen as the more formal and structured model as it states the usual conventions of the moral panic’s process. The second model is the ‘Attributional Model’ by Goode & Nachman. This includes only five points of criteria for a moral panic and mainly expresses the reaction of the public rather than the process of the resolution. For example, the fourth stage is ‘Disproportionate - the reaction by the public is out of proportion to the cultural harm’, which is representative of the tendency of this particular model. As each model has different criteria, depending on the process of the moral panic, one model may apply to a given crisis better than the other. These models will come in useful when deciding how each moral panic affects and alters our cultural identity as the path they each follow lead to different outcomes.

A key example of a moral panic is the uprising of child abuse. Although child abuse has unfortunately happened throughout time, one of the most important cases was in 1973 when Maria Colwell who, aged 7, was beaten to death by her stepfather, came to trial. As a result, awareness began to slowly spread throughout the public. Nevertheless, as the case didn’t gain as much coverage as expected – most likely due to the horrific concept being so new, thus unbelievable – this was not yet seen as a majorly threatening issue. Therefore there wouldn’t have been a shift in our cultural identity, but just the beginning of a gradual process to change. Sir Keith Joseph, Minister for Social Security, played a key role in resolving the ordeal. However, it was only when the media became involved, having used the criticism of the social work system as a lead, that the moral panic appeared to be well under way. This was due to the media’s typicality in over-exaggerating the situation, and choosing to further the decision to blame social workers.
As a result of all this, parents and the public in general were shocked and rightfully scared, but for two reasons. Firstly, suspicions grew for parents as to whether their child’s safety was in jeopardy. This suspicion would most likely fragment our cultural identity as people become less trusting, thus creating friction as any abnormal behavior would generate doubt in their ability to care for children. Secondly, in relation with the first fear, and consequentially, parents and child minders in general would fear for their status as reliable carers. This reaction would most likely bring people together as those who see the epidemic as being over exaggerated would fight together to bring a sense of reason back to society. So overall in this epidemic, fragmentation and form are inextricably linked in that the mass media solidifies the public’s cultural image of a “typical” mother. This results in cultural forming – as those who appear to be a “typical” mother come together – and fragmentation in which within society people can become hostile, or overly concerned when people do not conform to this specific identity.

Another example of a moral panic is the uprising of ‘Rave.’ This was an outbreak unlike anything else due to the main concept of it being more of a taboo rather than essentially breaking the law. Rave culture was very distinctive, they always used extensive lighting, wore eccentric clothes, and the music had around 120 beats per second. This chaotic theme is all very necessary once you understand why the mutiny was so looked down upon. Drugs were the main concern surrounding rave culture, and although manic dancing and eccentric settings aren’t illegal, drugs are. This is what caused the moral panic and sent the public wild with alarm, producing a formation of worried parents, those who were affected, and thus an army of resistance.
The police made many attempts to bring down the raves however they were up against several tactics used to keep them out. All the people who considered themselves as ‘ravers’ were, in principle, included in a huge cultural forming. Therefore, they fought for their revolution. Organisers argued that the raves were private functions leaving the police with no grounds to work with, and that’s if they could find the events - the venues were kept secret until the last minute, and were in rural places such as barns and airfields. Because the ‘ravers’ were in an unstable position of control, they were very tightly bound and thus became more detached from society. So although at the time there were two very motivated and strong formations of society, this evidently leads to an overwhelming split in our British culture. It was only when Leah Betts died on her 18th birthday due to water intoxication – a result from ecstasy – that the moral panic began to come to an end. This moral panic seems to follows the steps of the ‘Attributional’ model, and although the death of Leah Betts came as a blow to both groups, the public reaction still seemed disproportionate to the cultural harm, and so following the process of the model, the panic soon subsided.

A further example of a moral panic that hit the nation was AIDS. This differs from the previous two, as the shocking and life changing crisis had no one to blame. Most moral panics have a folk devil, as they play the role of the people who are threatening the rest of society and their culture. However it was only after the pandemic was over that the public realised AIDS was an exception due to the virus infecting unknowing suspects. When AIDS came about, panic broke loose as people could find no explanation. It was only when the media suggested it was a ‘gay plague’ that the true moral panic took place – as the public finally had a folk devil to hold responsible – and people generalised it with homosexuals and later drug users as knowledge spread that these were possible ways of contracting AIDS. Much like the rave rebellion, formations were created by the supposed folk devils being singled out as wrong doers. Quite understandably, those who received grief, as well as having to cope with the infection, started to run campaigns fighting to bring sense into the isolating calamity. This was a mass moral panic and so went on for a long period of time. Therefore as time went on, and as people began to learn more about the pandemic, views and opinions on the matter grew more and more diverse. The obvious risk of having so many outlooks on such a serious and culture-affecting issue is that sooner or later, people create confrontation and hence, cause fractures in society. So although like other moral panics, some people form a cultural identity in accordance with their beliefs, overall, our culture is dangerously fractured as there are too many apparent subdivisions.

Moral panics always come in different forms. This is evident from looking at the differences between the child abuse, rave, and aids epidemics. Child abuse is a harmful and worrying crisis as targets are unpredictable and helpless. The rise of rave was just a large youth subculture which was harmful in terms self infliction, and the influencing of others. The AIDS epidemic was purely a misunderstanding as because the infection was so new, the public felt the need to blame someone without knowing the facts. During all these moral panics, culture shifts regularly. There will always be formations of individuals wanting to fight to bring the crisis to an end, as well as those who group together as a result of feeling targeted. At least we can take comfort in the fact that all moral panics do fade, or at least become regulated, and all the groupings and segregations eventually loose their force.

Film Research

Today i found a truly British film that i decided would be useful in helping me to further my knowledge on the what makes a film British. The film was Doctor in Distress, directed by Ralph Thomas, and made in 1963.
I believe that films of this era were easier to decipher as British as this was the time that people base our cultural traits on; pompous men with mustaches, rounded classic cars, and proper British speaking. Funnily enough, this film includes all these conventions. Even from the introduction, the connotations of all the films aspects were pointedly British. The non-digetic music was formal and upbeat, typical of a film of this era. The characters shown were chugging along in there old fashioned British cars with rounded head lamps and chrome finishing. The reason for this being so apparent is in order to inform the audience the setting of the film making it an initial conclusion drawn.
The plot that runs through the film is also very British. It's a romance including Doctors as the protagonists. By using the profession of a Doctor is significant as it is seen to be a respected line of work, and these beliefs is a signifier of British culture. Despite the obvious English accent, even the way they talk is characteristic of a British person, whether it be a heavy londoner's chat or upper classed grousing. The genre is also archetypal of a British film as this was around the same time as the Hays Code adaption, making it very family friendly and thus noticeably British.
Overall i have gained a better insight into recognizing a British film as the more examples i research the more i familiarize myself with the characteristics.

Moral Panic and the Media

Moral Panic - (aids, youth uprising, child abuse, paedophilia)
- Breakdown/lack of morals - performed by the 'folk devil'
- Large public outcry - people feel threatened and want to resolve it.
- Gap in the media - how do they cover it?
- Something that happens which causes a moral discussion - needs to be sorted out.

Abstract concept used to make sense of "irrational public hysteria"
Public and academic debate on moral panic works on the assumption that the media plays a significant role in determining the characteristics of a moral panic.
This signifies a complex process that shapes public perceptions of a perceived threat to the moral code of society.

Process Model:
Applies to process of a moral panic. 7 defined stages (Stanley Conon "folk devils & moral panics" 1973)
1. Emergence: when a form of behaviour becomes perceived as a threat.
2. Media inventory: explanation of the threat is manipulated by media (desertion exaggeration)
3. Moral entrepreneur: group organisation speak out and offer solutions.
4. Experts: socially accredited experts who diagnose solutions
5. Coping resolutions: reaction of the media, moral entrepreneurs and experts leads to legal reform.
6. Fading away: the condition disappears; submerging into the culture, or deterring becoming less visible.
7. Legacy: a moral panic has a long term effect and creates big changes in social policy, the law or society's views on itself.

Attribution model: Eric Goode & Nachman
Ben Yehudah Study - "Moral panics = social construction of deviance" (1994)
Claims those working in the media, political insitutions of the legal system impact on moral panics through "claims making."
- 5 elements of criteria distinguish attributes of moral panics.
1. Concern - a heightened level of concern, measurable through opinion polls etc.
2. Hostility - increased hostility to a group or category - seen as 'enemy' to respectable society (folk devils)
3. Consensus - a sustained segment of social agrees that the threat is caused by wrong doers.
4. Disproportionates - the reaction by the public is out of proportion to the cultural harm.
5. Volatility - the idea that moral panics are volatile by nature, erupts quickly but also often subsides quietly - each episode cannot be sustained for long.

Michael Caine

Michael Caine is a well known British actor whose career kick started when he starred in the TV play The Compartment, which later lead to him starring in Zulu, Alfie, Hurry Sundown, The Italian Job, Get Carter and many more. Unfortunatly, Caine (real name Maurice Joseph Micklewhite, Jr.) came from humble beginnings; his father was a Fish Market Porter and his mother was a Charwoman. From an early age he was eagerly interested in the film industry, but found himself being turned down more often than not. Atfer many agents,and shooting TV play The Compartment Caine was finally took on by Dennis Selinger who was the biggest agent in England at the time. This was the initiation of his career as it wasn't long after that he got his breakthrough film role in Zulu. Since then, he has only built upon his extraordinary reputation and is still starring in brilliant British films.

Cover Work

The term "Folk Devil" (introduced by sociologist Stanley Cohen in 1972) means a person or group of people who are portrayed in the media as being rebels or outsiders. They are stereotypically mods and/or rockers accused of committing crimes and blamed for social problems.

"Moral Panic" is expressed when a population feel that the social order is under threat by an intimidating and alarming group of people (often called folk devils). Moral panics are by-products of controversies that produce arguments and social tension.

The Motion Picture Production Code (MPPC)

The Motion Picture Production Code was a set of industry censorship guidelines which were put in place from 1930 to 1968 in the US. These guidelines were set up in order to monitor the production of films, and to inform motion picture companies what was acceptable and not acceptable. This was to ensure that the contents were suitable for public audiences and would not set a bad influence. The MPPC was also commonly referred to as the Hays Code after its creator Will H. Hays.

Here are a few of the codes "General Principles"

1. No picture shall be produced that will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin.
2. Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented.
3. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.

Comparison on Britsh Films

Somers Town and Slumdog Millionaire are both British films, but what makes a film British? They both have elements of different cultures in them, with some elements more apparent than others. In Slumdog Millionaire for example, the whole film is set in India and has an almost all Indian cast. This would lead you to disagree with the notion of Slumdog Millionaire being a British film, however there are other factors to include in this argument. Although the co-director, Loveleen Tandan originates from India, Danny Boyle is a typically British Director who has a number of British films under his belt. You would also assume that it's target audience is British as it uses the English language. In addition, the theme of the whole film is based around the archetypal British game show 'Who wants to be a Millionaire', suggesting it's ideologies are also British.
Somers Town is similar but in a different way; it's set in the England's capital, London. This instantly directs an audience towards labeling the film as British also, however like Slumdog Millionaire it has a cultured and relatively concentrated cast, Piotr Jagiello who plays Marek who is polish, Ireneusz Czopn who plays Mariusz is French and we also meet many other characters whom are also immigrants. The reason this film shows culture is its focus on the newcomers settling in and the troubles they may face.
Overall, I would categorize both films as cultured British Films, with Slumdog Millionaire less typically British than Somers Town.