Stage 2: Problem-posing stage

During "the problem-posing stage" of Freire's model, one of my central roles was developing “codes” – TV and film content that depicted looked-after characters. An effective code would represent a multifaceted problem that was familiar to the young people, but did not have ready-made solutions (Wallerstein and Bernstein, 1988).

In terms of establishing a baseline of the depictions of these looked-after characters, I considered undertaking a comprehensive content analysis, looking at a variety of media over a three-month period as Henderson and Franklin (2007) had done in their study on the TV representation of social workers. However, my desire was always to devote my time to more direct “hands on” and qualitative work with the participants, so I instead completed a brief analysis of the content pertinent to the young people in my study. Therefore, prior to each session, I viewed each “code”, making notes and observations.

Four TV episodes (a television soap opera serial and two children's drama series) and a feature length film were selected for analysis, all chosen by the group, aside from the feature film, which I selected myself. The sample was composed of the following: Tracy Beaker (CBBC), The Dumping Ground (CBBC), Waterloo Road (BBC 1) and the feature film, Short Term 12. The young people selected content they were familiar with, where young people in care were a central feature of the story, and it should be noted that the content select by the young people were very much mainstream UK depictions. I selected Short Term 12 myself, to offer the young people content from outside these mainstream depictions.

Validity

It should be noted there are limitations with the content selected. For example, it should be noted that given the long trajectory of these programme's storylines, and long-term development of their characters, I appreciate that a snapshot may not be representative of the entire content (Al-Sayad, 2010). Further, three of the four TV episodes and the feature film, depict looked-after young people living in care homes. While it may be that the majority of looked-after depictions do involve residential care (West, 1999), looked-after young people may also be depicted as living in foster care. An example of this was highlighted by Kiera when she referred to Rhydian in Wolfblood, a character who lives in foster care, and where care is not the primary focus of the story. Therefore, there may have been other content the young people would have identified with more easily, that reflected their own lives and circumstances. However, it should be noted that each young person was able to identify with characters or elements of characters they saw in the selected depictions (discussed in detail later on), so these opportunities were not negated.

While I would have liked to have viewed Wolfblood and other examples, with the group, during the Short Term 12 session, the group disclosed deeply personal stories and seemed to be pushing for a private space to talk. This led me to undertake one-to-one interviews with the young people, meaning I was unable to view and discuss any further content with them.

Having said that, the content selected was that that was most familiar to the young people, was that which they had the most familiarity with, and understanding of. These programmes – Tracy Beaker and The Dumping Ground – are iconic when we think about young people in care and their representation onscreen, and therefore, the focus on these programmes, feels very much justified.

Session one: Tracy Beaker

The Story of Tracy Beaker (also known as Tracy Beaker) is a British children's television programme adapted from the book of the same name by Jacqueline Wilson, which ran from 2002 to 2006. The story takes place in a British care home, nicknamed “The Dumping Ground”

by its residents, and is narrated by its lead, Tracy Beaker (www.bbc.co.uk).

Notes on looked-after characters

Tracy is introduced as difficult, angry and aggressive. It becomes clear that her foster placement has broken down and this is not the first time this has happened. She talks about being “difficult” and having

“behavioural problems”, and appears very self-aware for a ten-year-old. Tracy fantasises about her estranged mother, imagining her as an actress in Hollywood. Tracy is depicted as a liar and a tomboy, with a good sense of humour.

Session two: The Dumping Ground: series 1, ep 1

The Dumping Ground is a BAFTA-winning spin-off of The Story of Tracy Beaker. The series centres on the lives and relationships of the children and care workers of the fictional care home "Ashdene Ridge".

The first series aired until March 2013, and at the time of writing, the show is currently in its fourth series (www.bbc.co.uk).

Notes on looked-after characters

As this show is an ensemble show, I was unable to track the names of each character, but they appeared to be an even mix of gender, aged approximately between six and sixteen, predominantly white, although there were two black and minority ethnicity females. One of the

characters was disabled, with cerebral palsy.

Session three: Waterloo Road: series 8, episode 1

Waterloo Road is a British television drama series set in the comprehensive school, Waterloo Road. Waterloo Road ran for nine years, comprising ten series and two hundred episodes (www.bbc.co.uk).

Notes on looked-after characters

When we first meet Jade, a mixed race teenager, she is running, having stolen a school uniform. She is resourceful and knows how to access support, and is able to stand up to her possessive boyfriend, Drew, to some extent. She presents as scared and vulnerable, and we soon realise she is pregnant. Ultimately, she stands up to Drew, placing her baby first, wanting to stay at school and access support.

Drew is possessive, controlling, suspicious and dismissive of Jade's desire to go to school. He seems violent, dangerous and vulnerable.

He appears to have difficulty with authority figures.

Session four: Waterloo Road, series 7, episode 10 Notes on looked-after characters

Jodie “Scout” Allen is placed in a difficult situation, having to care for her brother, without her neglectful mother. She is loyal and protective of her brother, and will do anything to keep him out of care and prevent the two of them being separated. She is tenacious, defiant and stands up for herself. She takes action and does what she thinks is right, however misguided. This is particularly evident when she steals from a drugdealer and runs away, placing herself and her young brother at risk. It is also implied that she has sold drugs in the past.

Session five: Short Term 12

Short Term 12 is a 2013 American drama film centred around a group home for troubled teenagers (www.imdb.com). On a personal note, this is one of my favourite films and a film I believe to be very realistic in terms of its depiction of looked-after young people living in a care home. However, this was not necessarily a perception shared by the young people in the group (see chapter eight).

Notes on looked-after characters

Marcus is turning eighteen and due to leave the home. He's quiet, introspective and serious, and has a talent for rapping. He was abused by his mother and is prone to violent outbursts. Jayden is brooding and does not want to engage. She is difficult, but has a sense of humour and a talent for drawing. She comes to open up over time and develops a bond with the main care worker, Grace.

Viewing the codes

Having viewed these “codes”, I would ask the young people to express their initial emotional reactions and encourage them to reflect on the meaning these images had in their lives. Following this, the group discussed any issues raised by the code, both for themselves and wider society. The goal at this stage was to promote autonomous thinking and critical reflection among the young people (Rindner, 2004). Freire notes that during, “The process of decoding, the participants externalize their thematics and thereby make explicit their "real consciousness" of the world. As they do this, they begin to see how they themselves acted while actually experiencing the situation they are now analyzing, and thus reach a “perception of their previous perception”” (p.115). Please note, a full and comprehensive account of the young people's discussions takes place over the ensuing chapters.