1. Cleaning Up
Recently I watched the film iBoy, which was first released by Netflix in January 2017. Based on the 2010 novel by Kevin Brooks, which is set in the fictional Crow Lane estate in South London, the film relocates the story to the Middlesex Street estate in Aldgate, just off the Petticoat Lane market. A lot of the film takes place on the raised walkways of the outer ring of low-rise blocks that surround the estate’s courtyard and central tower, and which are in turn surrounded by the encroaching monuments to capitalism of the adjacent City, which in the night scenes appear like alien spaceships expanding their intergalactic empire. Much is made visually of this juxtaposition between the dark, run-down, concrete council estate and the glittering metal and glass towers of the Gherkin, the Cheesegrater, the Walkie-Talkie, the Shard, and all the other cute names for the priapic emanations of Albion.
I won’t bother you with the story, which is drawn from the increasingly limited range of narrative film; but the basic conceit is that, following a gang shooting on the estate, the young hero has fragments of his iPhone embedded in his brain, and this allow him to access and control digital electronic devices. In their criticisms of the improbability of such a premise and the romantic clichés in which it is played out, what the critics all ignored was the ideological setting to the film, which like all ideology is transparent while at the same time being in plain view. The reason we don’t see it is because it’s so close to our vision as to be indistinguishable from it, like the internalised iPhone screen through which the hero views the world. The Guardian even accused the film of an excess of ‘urban realism’. The clichés no critic saw were those about council estates and the communities they house.
On this one, which is renamed the Crowley estate in the film, the residents are either criminals or victims of crime, their homes dirty, dark and ruled by gangs, the architecture conducive to alienation, despair and ‘anti-social’ behaviour, their community part of a network of organised crime, their mothers crack addicts and whores, their kids dealing or taking drugs, their behaviour only contained by heavily armed police, their proximity to the City of London incongruous and outdated, the existence of the estate futile, doomed and in need – as the heroine says – of ‘cleaning up’. In case the way to do this is in doubt, the file the hero downloads before calling in the riot squad for an early morning raid is titled:
Even if you haven’t seen the film, you won’t be surprised to learn that this characteristically middle-class perception of council estate communities – which has itself been formed through thousands of similar depictions in our press, media, news reports, reality TV shows, documentaries, housing policy documents, think-tank reports, developers’ press releases, estate agents’ adverts, councillors’ plans, housing ministers’ speeches and films like this – was written, acted and directed by a team of writers with a tin ear for the speech patterns of London’s working class (‘you think your drug dealing won’t escalate?’), actors whose occasional ‘sorted’ and ‘fuck offs’ couldn’t hide their Home County accents and RADA haircuts, and a director whose filmography is characterised by ‘gritty’ depictions of Inner City life which, unwittingly or otherwise, prepare the way for the plans of property developers and the planning authorities that are in their pockets. That the ‘breeding-ground’ – to use the sink estate terminology – for the criminality that afflicts our society should be located here, in this inner-city council estate, rather than in the financial district it borders, should be sufficient indication of whose interests are being served by this film. Apparently oblivious to the effect it will have on the community it depicts, iBoy would not look out of place in a property developer’s presentation to the City of London Corporation arguing why this ‘sink estate’ should be demolished and the immensely valuable land on which it stands handed over to them for redevelopment.
Continue reading “iMayor: The Ideology of GLA Housing Policy and the New Policy we need on Estate Regeneration”