TRUE CRIME ETHICS
have suggested this is due to wanting to understand the psychology of criminals in order to better avoid them and protect themselves. Of course, this doesn’t apply to everyone – some viewers simply enjoy the mystery elements of solving cases. According to recent surveys, women are also twice as likely as men to listen to true crime podcasts. This is somewhat unsurprising, since the World Health Organization (WHO) has indicated that globally one in every three women has been subjected to physical or sexual intimate partner violence or non-partner sexual violence in their lifetime, with the majority being intimate partner violence. True crime content can serve an educational purpose, to raise awareness of dangerous patterns of behaviour, support victims and give their stories – instead of the perpetrators – a platform, or even help revisit otherwise forgotten cases. But if handled poorly, this content can be harmful and exploitative, even retraumatising those affected by cases. For filmmakers, telling these stories blurs the fine line between awareness and exploitation. Ultimately, though, the way in which a filmmaker chooses to do this can make all the difference. TELLING THESE STORIES blurs the fine line BETWEEN awareness and exploitation ”
STAYING SENSITIVE Filmmakers of The Long Shadow (above, below) respected Bradford’s wishes to be excluded as a filming location, as well as working closely with those affected by the crimes
across the years from various people. We see Marcella’s photo fit, which was bang on,” explains Rutherford. “The police just dismissed her testimony of being attacked with a hammer. We tried to show that there was no empathy around her at the time at all, so I was pleased with those scenes. Jasmine Lee-Jones, who plays Marcella, was phenomenal.” Looking at the series from a cinematography perspective, it was important for Rutherford to film without ego. “It was about trying to film in an un-self-conscious way, with a hugely subjective approach to lensing,” he adds. “I felt the lighting sort of grew into itself and became more stylised and confident than we expected in prep. Director Lewis Arnold was extremely rigorous and we ultimately wanted a restrained and respectful camera that aimed to be subjective, as well as a confident lighting style that celebrated the lives and vibrancy of the subjects from all their different walks of life.” While exact statistics of true crime audience demographics vary, they tend to suggest that it’s predominantly women watching. Studies and forums
as the city wanted nothing to do with the show, and to avoid retreading its painful past. Nevertheless, much of the show was filmed close to the real locations, across Leeds. Wilma McCann was Peter Sutcliffe’s first victim and ITV reached out to her son Richard very early on. “They kept him in the loop and they secured his approval for the story,” says Rutherford. “One of the survivors, Marcella Claxton, also visited the set. It was important due to the sensitivity of us filming in certain areas. This also served as a reminder to us that The Long Shadow was focusing on the victims and their stories. “Meeting Marcella and Richard in real life really brought it home to me. If you don’t have consent for true subjects like this one, it becomes such a different story. You have to ask yourself whether you’re sensationalising it. One person’s name did have to be changed, as their family didn’t want to be involved.” The Long Shadow also depicts themes of the institutional sexism and racism that ultimately led to the delay in capturing Sutcliffe. “One moment that was really poignant to shoot was when we see all the photo fits of Sutcliffe from
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DEFINITIONMAGS
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