{"id":1750,"date":"2014-12-25T09:00:16","date_gmt":"2014-12-25T09:00:16","guid":{"rendered":"\/?p=1750"},"modified":"2017-05-19T15:49:58","modified_gmt":"2017-05-19T15:49:58","slug":"the-imitation-game-2014","status":"publish","type":"post","link":"https:\/\/mcc.sllf.qmul.ac.uk\/?p=1750","title":{"rendered":"The Imitation Game, 2014"},"content":{"rendered":"

Plot<\/strong> Bletchley Park, 1939 World War II. MI6 hires Alan Turing and other cryptographers to break the Nazi encryption machine, Enigma, but the machine\u2019s settings are changed every day. Alan designs a machine which will decode any encrypted message, named Christopher, after his only childhood friend. In need of staff, Alan hires Joan Clarke to secretly work on the Enigma mission but Christopher fails to crack the code. Alan confesses to John Cairncross that he has had sexual relations with men but he keeps it a secret, and proposes to Joan. One night, Alan has an epiphany and programs Christopher to search for repeated words in the encrypted letters. They crack the code. However, they cannot act on every attack, as this would raise suspicion. Alan discovers that John is a Soviet spy and learns that MI6 intentionally hired him to leak information to Stalin. In fear that Joan\u2019s secret involvement with the group will get her into trouble, Alan calls off their engagement. Once Britain wins the war, the group burn all traces of their work and return to their former lives. Manchester, 1951. Following a burgarly, Detective Nock suspects Alan of being a Soviet spy. However, the burglar is, in fact, a homosexual prostitute who Alan hired. Alan is charged with gross indecency and undergoes chemical castration. Ultimately, he is left with only Christopher by his side.<\/p>\n

Film note<\/strong> Hollywood studios often favour films which have the key ingredient of familiarity because there will be a higher chance of box office success. Lynda Obst (producer of Interstellar <\/em>(2014)) asserts that in Hollywood, familiarity breeds success, not contempt\u201d (Garrahan) and this is evident in the recurrence of franchises, film adaptations, sequels, and prequels. Morten Tyldum\u2019s The Imitation Game <\/em>(2014) is distinctive in its lack of familiarity. This made the film a financial risk to produce and promote but it still achieved an impressive worldwide box office gross of $233.6m.<\/p>\n

An unfamiliar film <\/strong>The Imitation Game\u2019s <\/em>production company, Bristol Automotive, was established by first time producers, Ido Ostrowsky and Nora Grossman. They were fortunate enough to have Graham Moore write the film screenplay based on Andrew Hodges\u2019 novel Alan Turing: The Enigma <\/em>(1983), <\/em>because \u201cno one else was knocking on [their] door\u201d (Siegel). The producers also teamed up with Teddy Schwarzman from Black Bear Pictures, who found that The Imitation Game <\/em>\u201cwould fit perfectly into Black Bear\u2019s canon: original, engaging and complex character-driven characters such as their recently claimed All Is Lost<\/em>, starring Robert Redford\u201d (Production Notes). Being the son of billionaire Stephen Schwarzman, Schwarzman was certainly not short of money, and was so \u201cblown away by Moore\u2019s screenplay\u201d that he was able and \u201cwilling to greenlight the film without a [calibre] star\u201d (Siegel).<\/p>\n

It was precisely Moore\u2019s screenplay which attracted producers and actors to the project because it topped the annual blacklist for December 2011. The annual blacklist is a survey for the \u201cmost liked\u201d but unproduced picture, as voted by studio executives. Initially, Warner Bros. showed interest in the film, accompanied by rumours of Leonardo DiCaprio for the lead role (Kit & Siegel). Following the collapse of this potential collaboration, The Weinstein Company purchased the rights to the screenplay for a record $7m, even without the guarantee of a Hollywood star. For the lead role, Benedict Cumberbatch was ultimately selected by the production team because of the \u201cmix of sensitivity and strength\u201d in his acting which \u201ccould synthesise Turing\u2019s genius, his humanity and myriad complexities\u201d (Production Notes). Though Cumberbatch had already \u201cexpressed interest when the project was at Warners”, the studio \u201cdidn’t consider him a big enough star\u201d (Siegel). Nevertheless, Cumberbatch has earned \u201can avid fanbase of women and gay men\u201d (Lang), many who have followed him since his casting as Sherlock Holmes in the internationally-successful British TV series Sherlock <\/em>(2010-ongoing). Many critics have even drawn parallels between Cumberbatch\u2019s characterisation of Turing and that of Sherlock, since both characters are socially awkward, arrogant geniuses. In Hollywood, Cumberbatch has established his reputation with films such as 12 Years a Slave <\/em>(2013), Star Trek into Darkness <\/em>(2013) and Doctor Strange <\/em>(2016).<\/p>\n

In previous examples of biopics, there is a tendency to share stories of recognisable public figures, often \u201ca monarch, political leader, or artist\u201d (Kuhn & Westwell, 32). In these films public \u2018pre-awareness\u2019 of the lives of significant figures enhances the appeal. The Imitation Game, <\/em>on the other hand, centres on the unknown figure of Alan Turing, whose accomplishments during World War II were kept classified by MI6, and only later revealed through letters and Andrew Hodges\u2019 biography. Although there have been attempts to bring Turing to screens, including the television shows, Breaking the Code <\/em>(1996) and Codebreaker <\/em>(2011), and the feature films, Enigma <\/em>(2001) and The Turing Enigma <\/em>(2011), these failed to reach a mass audience. Tyldum\u2019s film is not the first example of converting an unfamiliar figure into the protagonist of a biopic. In 2013, The Wolf of Wall Street <\/em>was released, based on the true but not widely known story of Jordan Belfort. Instead of selling \u201cthese specific people\u2019s lives\u201d, it is about \u201cselling the biopic itself<\/em>\u2026 that tells us we\u2019re going to see Something Grand, Important, Entertaining, and Transporting\u201d (Ebiri). What attracted the production team to Turing\u2019s story was the combination of an inspiration war genius and his tragic prosecution for homosexuality, rendering it \u201ca story that the world needed to hear\u201d (Production Notes).<\/p>\n

Alongside The Imitation Game<\/em>, many other biopics were nominated for the 2015 Academy Awards such as American Sniper <\/em>(2014), Selma <\/em>(2014) and The Theory of Everything <\/em>(2014). American Sniper <\/em>even managed to gross the highest box office of 2014, surpassing The Hunger Games: Mockingjay Part 1<\/em> which incorporates as much familiarity as possible through the book and film franchise. Arguably, \u201ctruly great biopics find a way to reinvent the form\u201d (Ebiri) which The Imitation Game <\/em>attempts to do by attaching the thriller sub-genre to it. Dan Jolin claimed that the film \u201cisn\u2019t such a crazily far cry from the murky, pacy Headhunters<\/em>\u201d (2013), a well-received Norwegian thriller also directed by Tyldum. Despite Tyldum\u2019s unfamiliarity among American audiences, The Weinstein Co. exploited his foreignness by ensuring that he mentioned it as a \u201cclear talking [point] during every interview, Q&A and acceptance speech\u201d (Feinberg), so that the \u201coutsider status of his own role\u201d (Production Notes), coincided with Turing\u2019s outsider status at Bletchley Park. In spite of the audience\u2019s unfamiliarity with Tyldum, as well as the other aspects of unfamiliarity, the production team for The Imitation Game <\/em>should be applauded for their development of a film that pays \u201chomage to an extraordinary life while honouring the tale\u2019s most challenging and unique elements\u201d (Production Notes). Overall, Bristol Automotive and Black Bear Pictures succeeded in producing a novel and unfamiliar yet inspiring and commercially successful film.\u00a0
\n<\/strong><\/p>\n

Oscar-bait <\/strong>Within Hollywood exists a hybrid category known as Indiewood \u2013 a combination of independent cinema and Hollywood. These kinds of films aim to \u201ceither to supply demand that the (major) studios cannot meet or to cater for niche markets\u201d (Kuhn & Westwell, 226). Following this definition, The Weinstein Company operates with the former in mind. Unlike the novice producers of The Imitation Game<\/em>, Harvey and Bob Weinstein are experienced in film distribution, working the field since 1979, when they co-founded Miramax. After leaving Miramax in 2005, the Weinsteins founded The Weinstein Company. The King\u2019s Speech <\/em>(2010), also distributed by the Weinstein Company, accumulated a successful domestic gross of $138.8m. As a result, the Weinstein Company took to imitating its method of distribution for The Imitation Game. <\/em>From this release, The Imitation Game <\/em>earned a total of $482,000 from four theatres in New York and Los Angeles. This opening weekend exceeded The King\u2019s Speech\u2019s, <\/em>which earned $355,000 from the equivalent number of screens. As Phil Contrino notes, the Weinsteins are \u201cmasters at starting slow and making sure they build momentum\u201d (2014). Gradually, The Imitation Game <\/em>expanded to more screens and reached a nationwide release by Christmas Day.<\/p>\n

Besides the release strategy, Indiewood distributors acknowledge the significance of the Academy Awards in raising awareness and publicity for their films. Winning an Oscar, especially in categories such as Best Picture, Best Actor and Best Actress, can provide \u201ca big boost in international box office because they mostly premiere overseas later allowing them to capitalise on awards\u201d (Marich 174). Accordingly, the Weinsteins work hard to promote their films to the Academy of Motion Picture Arts and Sciences. As a consequence, their films typically become Oscar contenders. In the lead up to the Academy Awards, \u201cfor your consideration\u201d advertising is directly aimed at voting members of the academy. The Imitation Game\u2019s <\/em>press focused on Alan Turing and his wartime achievements, and his contribution to the development of computer technology. The campaign also mentioned Turing\u2019s tragic suicide. The text reads \u201call these years the injustice remains\u201d, spurring the members to vote for the film as a way of honouring Turing. Consequently, the advertising \u201cstarted to resemble an expensive political campaign\u201d (Balio 136).<\/p>\n

The campaign also included the likes of Google executive chairman Eric E. Schmidt, Twitter CEO and Director Dick Costolo and Paypal co-founder Max Levchin. Repeatedly referred to as the \u201cfather of computers\u201d by several critics, Schmidt declared that \u201cAlan discovered intelligence in computers, and today he surrounds us\u201d. By tapping into the contemporary digital age, The Imitation Game <\/em>extends beyond \u201colder, sophisticated audiences [\u2026] because of the nature of the film\u201d and appeals to younger audiences and tech heads (Lang). In an attempt to attract queer audiences and those in support of LGBT rights, Weinstein also emphasized the topic of homosexuality. Despite Turing\u2019s posthumous royal pardon in 2013, Weinstein decided to generate a movement to have Turing \u201chonoured by the British government\u201d, as well as \u201c[pardoning] the thousands of British citizens convicted under laws forbidding homosexuality\u201d. His act for social progress encouraged others to join him, including actor Stephen Fry and a Washington-based human rights campaign (Kilday). Through the movement, Weinstein abided by the campaign\u2019s tagline \u201cHonour the man. Honour the film\u201d. It would certainly not be the first instance The Weinstein Company have used this technique: for example, Weinstein \u201csent the\u00a0Silver Linings Playbook<\/em>\u00a0team to Congress to lobby on behalf of mental health legislation\u201d (Kilday). Both examples demonstrate how the Weinsteins are skilled at turning an Academy Award campaign into a political matter, thereby ensuring maximum publicity and dividends at the box office.<\/p>\n

Turing\u2019s sexuality <\/strong>Following the disintegration of classical Hollywood\u2019s Production Code, there was a noticeable rise in queer characters and relationships in film. Historical events such as the 1960s Stonewall Riots and the AIDs crisis during the 1980s, led to the discussion of queer theory in film studies. It also resulted in the advent of New Queer Cinema in the early 1990s, which originated from independent cinema but soon after entered \u201cmainstream gay Indiewood\u201d because \u201cof a neoliberal hegemony embracing independent queer film\u201d (Richards 21). For example, Brokeback Mountain <\/em>(2005) was a game changer for New Queer Cinema because it brought a homosexual relationship between two major Hollywood male leads and an intense gay sex scene in a tent to mainstream Hollywood cinema. Considered by some to be part of this New Queer Cinema cycle, LGBT groups were eager and willing to commend The Imitation Game <\/em>for the portrayal of its homosexual lead character. The Imitation Game<\/em> was given a GLAAD Media Award for Outstanding Film. GLAAD advocates for positive depictions of queer characters, with CEO Sarah Kate Ellis remarking that it is a \u201cstruggle to find [queer] depictions anywhere near as authentic or meaningful in mainstream Hollywood film\u201d (Lee). The most probable reason for The Imitation Game <\/em>winning the GLAAD award is because \u201cTuring has rightly become a martyr for LGBT rights\u201d (Walters). Ben Walters comments that The Imitation Game<\/em> \u201ccould be the queerest thing to hit the multiplex in ages\u201d(2014).<\/p>\n

However, films from the classical Hollywood era were forbidden from displaying an \u201cexplicit representation of \u201csex perversion\u201d\u201d and restricted from \u201cdepicting homosexuality in a forthright manner\u201d (Benshoff & Griffin, 7) and some critics reprimanded The Imitation Game <\/em>for its lack of gay sex scenes and\/or depiction of a clear homosexual romantic relationship between Turing and another man. In response, Tyldum defended his decision to omit any scenes of homosexual sex, arguing that they would betray the characterisation of Turing. He explains that Turing\u2019s \u201cwhole relationship, how he falls in love and the importance of him being a gay man, was all about secrecy\u201d (Walters). When the onscreen treatment of homosexuality was finally allowed from 1961 it was under the condition that homosexual characters had to be judged negatively. This paradigm can still be identified in contemporary films which \u201croutinely implied that queer lives were empty, lonely, pitiful, and all too often deadly\u201d (Benshoff & Griffin, 8). This is evident in The Imitation Game <\/em>where Turing is forced to undergo chemical castration to \u2018cure\u2019 himself of his homosexuality, only then to commit suicide. The implication that homosexuality ends in tragedy may also be associated with Christopher, Turing\u2019s crush, who passes away from tuberculosis.<\/p>\n

The cinematography follows this logic, especially in the way it articulates the segregation between the homosexual Turing and the rest of the heterosexual team in Hut 8. In the scene where Cairncross invites Turing for lunch with the group, the shot reverse shot keeps the two characters in isolated, separate frames. Even in the wide shots, Turing is either placed at a distance or literally stands in opposition to the group. This oppositional logic is displayed in the scene where Turing is accused of being a Soviet spy by Commander Denniston, ending in a wide shot of Turing on the left hand side of the frame and the others on the right. It is only because of his otherness that he is suspected of a crime, which foreshadows his later incrimination for his homosexual activity. The Imitation Game<\/em> cannot be regarded the \u201cqueerest thing\u201d, for it maintains rather than \u201c[deconstructs] simple straight-gay binaries\u201d (Kuhn & Westwell, 289). In the film, once it is announced that Turing and Joan Clarke are engaged, he is finally assimilated into the group. This leads to a shift in the cinematography which features more wide shots with Turing in frame and in proximity with the rest of the group. Consequently, the film reinforces the \u201c\u201cnormal\u201d orientation of male-female attraction and desire, while homosexuality remained its \u201cabnormal\u201d shadow\u201d (Benshoff & Griffin, 3).<\/p>\n

Because The Imitation Game <\/em>downplays Turing\u2019s sexuality, only referring to it as a subplot, The Weinstein Company were able to promote the film to \u201ca mass public beyond queer niche audiences\u201d (Richards 20). In keeping with this construct, The Imitation Game <\/em>privileges Turing\u2019s relationship with Clarke. By neglecting any form of a homosexual relationship, excluding Turing\u2019s schoolboy crush on Christopher, the film is guilty of \u2018straightwashing\u2019. In a bid to please mass and conservative audiences, \u201cqueerness becomes the very liability for [the film] to overcome\u201d (Richards 20). At Bletchley Park, Turing doesn\u2019t seem to pay women any attention, but with that being said, he doesn\u2019t seem to pay men any attention either. There is the suggestion that he is asexual rather than homosexual.<\/p>\n

Other factors which make \u201cIndiewood films with LGBT themes\u201d easier for mass audiences to watch is to have it \u201cset in the past\u201d, making it \u201c[feel] more like a history lesson than a participation in gay cinema\u201d (Richards, 25). The Imitation Game<\/em> educates audiences about the history of World War II and how Turing assisted in ending the war along with a group of mathematicians. This could explain why the film concentrates more on the mission to decode the Enigma machine, instead of exploring Turing\u2019s personal love life. By placing characters \u201cin environments where queer sexuality is abnormal and socially undesirable\u201d, it creates enough discrepancy between the past and \u201cour current cultural condition\u201d (Richards, 25). In the 21st<\/sup> century, queer sexuality is more openly and legally accepted such as with the introduction of same-sex marriage in certain states. The disparity between past and present enhances The Imitation Game\u2019s <\/em>crossover appeal and demonstrates that heterosexuality perseveres as the dominant sexuality in Hollywood cinema. While Benedict Cumberbatch notes that \u201chuman rights movements and sexual and gay rights movements have made huge social progress in the last 40 years\u201d (Child), the same cannot be said of mainstream cinema, which has made far slower progress.<\/p>\n

References<\/strong><\/p>\n

Benshoff, Harry M., and Sean Griffin.\u00a0Queer Cinema: The Film Reader<\/em>. Routledge: New York, 2004.<\/p>\n

Child, Ben. \u201cBenedict Cumberbatch: I\u2019d defend gay rights \u2018to the death\u2019\u201d. TheGuardian.com. <\/em>15 Oct. 2014. Web. 5 Nov. 2016.<\/p>\n

Ebiri, Bilge. \u201cHollywood, For the Sake of Biopics, Stop Making So Many Biopics\u201d. Vulture.com. <\/em>20 Feb. 2015. Web. 20 Nov. 2016.<\/p>\n

Eisenberg, Eric. \u201cThe King\u2019s Speech<\/em> is only a frontrunner because it\u2019s manufactured Oscar Bait\u201d. Cinemablend.com. <\/em>2011. Web. 16 Nov. 2016.<\/p>\n

Feinberg, Scott. \u201cHow the Weinstein Co. Turned \u2018Imitation Game\u2019 Director into an Oscar Contender\u201d. Hollywoodreporter.com. <\/em>8 Jan. 2015. Web. 20 Nov. 2016.<\/p>\n

Garrahan, Matthew. \u201cThe rise and rise of the Hollywood Film Franchise\u201d. Ft.com. <\/em>12 Dec. 2014. Web. 5 Nov. 2016.<\/p>\n

Gray, Tim. \u201cHow \u2018Sniper\u2019, \u2018Imitation Game\u2019 and \u2018Selma\u2019 made a difference beyond Oscar race. Variety.com. <\/em>20 Feb. 2015. Web. 20 Nov. 2016.<\/p>\n

Jolin, Dan. \u201cThe Imitation Game <\/em>Review\u201d. Empireonline.com. <\/em>27 Nov. 2013. Web. 27 Oct. 2016.<\/p>\n

Kilday, Gregg. \u201cOscars: \u2018The Imitation Game\u2019 finally plays the gay card\u201d. Hollywoodreporter.com. <\/em>29 Jan 2015. Web. 8 Nov. 2016.<\/p>\n

Kit, Borys and Siegel, Tatiana. \u201cWarner Bros. Is Letting Go of \u2018Imitation Game\u2019\u201d. Hollywoodreporter.com<\/em>. 17 Oct. 2012. Web. 24 Oct. 2016.<\/p>\n

Kuhn, Annette, and Guy Westwell.\u00a0A Dictionary of Film Studies<\/em>. Oxford University Press: Oxford, 2012.<\/p>\n

Lang, Brent. \u201c\u2019Imitation Game\u2019 Scores Huge Debut Thanks to Oscar Buzz, Benedict Cumberbatch\u201d. Variety.com. <\/em>30 Nov. 2014. Web. 12 Nov. 2016.<\/p>\n

Lee, Benjamin. \u201cGay audiences are still short-changed by Hollywood, Glaad survey suggests\u201d. Theguardian.com. <\/em>16 Apr. 2015. Web. 27 Oct. 2016.<\/p>\n

Marich, Robert.\u00a0Marketing to Moviegoers: A Handbook of Strategies and Tactics.<\/em> Southern Illinois University Press: Carbondale, 2009.<\/p>\n

\u201cProduction Notes: The Imitation Game<\/em>.\u201d Twcpublicity.com. <\/em>Web. 20 Nov. 2016.<\/p>\n

Richards, Stuart. 2016. \u201cOvercoming the Stigma: The Queer Denial of Indiewood\u201d. Journal of Film and Video<\/em> 68 (1): 19-30.<\/p>\n

Schwarz, Hunter. \u201c\u2018The Imitation Game\u2019 isn\u2019t really about Gay Rights. But its Oscars Campaign is\u201d. TheWashingtonPost.com. <\/em>21 Feb. 2015. Web. 8 Nov. 2016.<\/p>\n

Siegel, Tatiana. \u201cCracking the Code: How Two Out-of-Work Producers Brought ‘Imitation Game’ to the Screen\u201d. Hollywoodreporter.com. <\/em>11 Nov. 2014. Web. 8 Nov. 2016.<\/p>\n

Walters, Ben. \u201cThe Imitation Game: The Queerest Thing to Hit Multiplexes for Years?\u201d The Guardian.com. <\/em>9 Oct. 2014. Web. 8 Nov. 2016.<\/p>\n

Written by<\/strong>\u00a0<\/strong>Casey Wong<\/strong>\u00a0<\/strong>(2016); edited by Guy Westwell (2017), Queen Mary, University of London<\/strong><\/p>\n

This article may be used free of charge. Selling without prior written consent prohibited. Please obtain permission before redistributing. In all cases this notice must remain intact.<\/p>\n

Copyright \u00a9 2017 Casey Wong\/Mapping Contemporary Cinema<\/p>\n","protected":false},"excerpt":{"rendered":"

Production Companies: Black Bear Pictures, Bristol Automotive
\nDistribution: The Weinstein Company
\nExecutive Producer: Graham Moore
\nProducers: Nora Grossman, Ido Ostrowsky and Teddy Schwarzman
\nScreenplay: Graham Moore, based on Andrew Hodges\u2019 Alan Turing: The Enigma (1983)
\nDirector: Morten Tyldum
\nCinematographer: \u00d3scar Faura
\nEditor: William Goldenberg
\nMusic: Alexandre Desplat
\nRunning Time: 114 mins.
\nClassification: PG-13 for some sexual reference, mature thematic material and historical smoking.
\nBox Office Gross: domestic 91.1m\/ worldwide 233.6m
\nTagline: The true enigma was the man who cracked the code.
\nCast: Benedict Cumberbatch (Alan Turing), Keira Knightley (Joan Clarke), Matthew Goode (Hugh Alexander), Rory Kinnear (Detective Robert Nock), Allen Leech (John Cairncross).
\n Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":1752,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[193,177,30,110,116,176,11],"class_list":["post-1750","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-note","tag-193","tag-biopic","tag-history-film","tag-homosexuality","tag-independent-film","tag-queer-cinema","tag-us"],"_links":{"self":[{"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/1750","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1750"}],"version-history":[{"count":3,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/1750\/revisions"}],"predecessor-version":[{"id":1772,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/1750\/revisions\/1772"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/media\/1752"}],"wp:attachment":[{"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1750"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1750"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1750"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}