Broadcast History Essay
Crime fiction has grown over time in the genre of drama. Crime drama began in the 1841 with Edgar Allen Poe's stories, and expanded throughout the United States Great Britain and France (Bennett, 2009). From the 19th century, dark literature, or murder, robbery, theft combined with betrayal and passion became storylines, forming crime dramas. There is a standard structure in crime fiction that deals with the crime, the detection, the criminals, and the motive (Bennett, 2009). A crime stimulates investigation and the final outcome results in justice of the criminal by punishment or death. The genre is "flexible" and often incorporates history and science fiction, which creates wide range of audiences (Bennett, 2009). Furthermore, several sub-genres compose the variety within the genre, such as, detective fiction, legal thriller, courtroom drama, police procedurals, and private eye (Bennett, 2009). Thus, modern dramas like Criminal Minds are an expansion of the traditional novelty drama of Dragnet. A key concept within crime drama is the construction of reality and the limited representation of the characters; therefore, it is ideal for a viewer to be aware of the realistic circumstances to appreciate the drama.
The television series, Dragnet (1951-1959), is considered a novelty crime show. Developed by Jack Webb, Dragnet is "critically acclaimed as television's first 'realistic' crime show"; providing the foundation for future reality based crime entertainment (Munro). By combining realism of law enforcement and police lingo, viewers are given an incite through "dramatization of the general truth" offering a "picture of Urban America, crime and the government" (Mittel). Viewers are given access to the world of the police, and thus the success of the show provides a formula.
Dragnet is arguably a docudrama by incorporating facts and elaborating realistic scenes for enjoyment. The strategic structure of Dragnet communicates to the audience, imposing a particular perception by the police of the time. The emphasis on heroism of the police force encouraged the audience to favour and trust the protection of law enforcement. Furthermore, viewers have an "alliance to the crime fighting system" with the open narration, credits and access to true stories (Mittel). However, the police, LAPD in particular, played an active role in shaping the show. The LAPD of the time were involved in every step of the production process to ensure "positive publicity", acting as a "guardian" figure in public morality (Mittel). Several issues, such as abortion and overt sexual content were censored out of the show, usually featuring petty, or less severe, crimes; ensuring a cleaner view of the world. The police changed names and markers that distinguished specific cases; benefitting the creators of Dragnet, the LAPD, and the respect of the victims (Mittle). Dragnet takes the viewer one step closer to the crime, illuminating the dedication of the police.
The narrative of Dragnet targets a specific audience that is relevant to the 1950 culture and society. Every episode of Dragnet introduces the story from a police like so, varying slightly with each story:
"The story you're about to see is true. (theme music for about 5 seconds) Here's the setting, Los Angelas, California. I work here. I'm a cop. It was Wednesday September 7th. It was hot in Los Angelas. My partner's Smith. The Boss is Captain Bernard."
The audience knows exactly what is happening in where; and the introduction is very polite. The story is straightforward, as the audience follows the like of a policeman. Jack Webb, playing Friday, the star of the show, is accompanied by his partner throughout every episode; establishing a brotherhood amongst policeman.
Television in the 1950's was a means of enjoyment for wealthier families, implying that the content had to be suitable for all ages (source). Teenagers were beginning to establish their own identity, conflicting with previous expectations and the relationship of parent to child; which made Dragnet even more successful by appealing to realism. Furthermore, Dragnet was an emblem embracing positivity and support of the policeman defending the country, as it follows the events of WWII. Depression from WWI lead to the country's inflation; television technology was a signature in United States as one of the most powerful nations in the world. Dragonet, encouraged patriotism and trust in policemen, as bomb scares stirred paranoia.
Criminal Minds is a modern crime drama that uses sensation instead of reality. Criminal Minds features the BAU, Behavioral Analysis Unit of the FBI of Quantico, Virginia; furthermore a team of profilers analyzing violent crimes (IMBD). Unlike Dragnet, Criminal Minds, focus more on the criminal, usually a serial killer, verses the crime itself. The show follows the "mentality" of the criminal, categorizing the criminal by specific behavior and background, requiring forensic and historic evidence (source). This allows the viewer to get into the mind of a killer, a victim, and briefly, a policeman. The unit in Criminal Minds is called by local police departments to help solve crimes, making the group elite because specialized phycological skills are required. An FBI member is also involved in writing the stores, like Dragnet; proving that viewers are able to become more involved with realistic ideals (source). However, the show is sensationalized with more fanatical fiction that provides an unrealistic description of the way the BAU operates in real life, making the show more of a drama and less of a second documentary, as in Dragnet. The timing and ability to gather information instantaneously about the killer, solve a crime within a matter of days, and fly around the United States presents more of an imaginative stem of the actual group. Furthermore, in order to compete with the many crime dramas of modern day, Criminal Minds ignores realistic procedure in investigation by focusing on the killer.
By using real case files, Criminal Minds plays on the idea of phycotic vs. insaine. Assuming humans, "desire to know why" or "what" makes a person pursue violent and serial crimes towards another, the storyline takes the viewer through the reasoning of committing such a heinous action (source). The unit attempts to prevent a crime before it is committed, unlike the officers of Dragnet that work backwards through a crime scene. The element of a "ticking time bomb" creates suspense of whether or not a life will be saved (source). However, the most important and securing factor for the viewer is the resolution, which both Dragnet and Criminal Minds provide. Thus a viewer is left understanding the crime, purposing that all crime dramas essentially hold the same objective, but evolution of society allows the viewer to become involved and see crime from a different angle.
(USE SOME REAL STORY QUOTES? TO EXPAND ON PHYCOTIC VS. INSAINE)
Because television technology is so easy to access, Criminal Minds targets more of a specialized audience than gender or age group. Although it is recommended that an older (14+) audience watch it, younger children aspire to be like older siblings and parents; but the gore and brutality continues. Criminal Minds is made for entertainment, displaying a fanatical derivative of reality. However, it is powerful enough to reflect the general idea of crime. A smile is a form of comfort, and as a signature characteristic of the leader of the unit in Criminal Minds, he rarely smiles. Criminal's try to level themselves from the agents, as one asks "why don't you ever smile?". The agents also struggle with the idea of being human and what seperates them from the becoming a criminal, ultimately relying on the power of the mind. Getting into and understanding the mind of a criminal is powerful.
Other than the resolution, both Dragnet and Criminal Minds separate personal from professional during the job. Furthermore, actors use little emotion or attachment to the crime as if it does not affect them. For example, in Dragnet, "just the facts ma'am" became a catch phrase; similar to "we're doing all we can" in Criminal Minds (SOURCE). Dragnet displays the consequences at the end of every episode, as Criminal Minds follows a killer who is under some kind of mental distress; which leaves the viewer to absorb the emotion the agents do not express (source). As a society, the emotional after affects of the consequences of crime, between both the government and the individual, prevent crime (Wilson). By associating abnormal, irrational, uncertainty, and ignorance characteristics with the "consequences of criminality", the cost and fear of imprisonment out weight the benefits (Wilson). Thus, episodes without personal attachment make the job and the crime more serious, and leaving the viewer to feel the impact of the crime that agents do not express.
The technology used in the 1950's is limited in comparison to modern technology used in Criminal Minds. Dragnet was one of the first shows to use film, however segments of episodes were shot at different times to fit the budget (source). Long wide shots were a signature to make it easier for the editor to piece together parts of the episode before airing. Although the original episodes of Dragnet (1951-1952) used black and white, audiences found it more effective (source). Viewers focused more on the slight details as the device itself is enthralling. Dragnet aired on one of the four channels, Television in the 1950's was more of a luxury, with only 9% of the US population owning a television, contrasting to a necessity 98% of American homes having a single television around the 1970's (source). Therefore television as a technology became a demand of cultural force reaching the rural urban areas to high-populated cities; and the realism of Dragnet was something a wide audience connected to.
The capabilities of modern day television are endless in comparison to the 1950's; therefore Criminal Minds, must have a compelling edge to attract viewers. The graphics and visuals of today are gruesome in comparison to Dragnet, therefore a viewer must be able to "stomache" watching the aftermath of the killer (source). The realistic aspect of crime is presented by visual interpretation, instead of accuracy. Thus Criminal Minds creates a more intimate connection through what is considered a "cold medium" of media (source). The colour and definition of picture quality makes the images of Criminal Minds come off the screen. Although Dragnet has the same affect on viewers in the 1950's, it does not compare to the image quality of Criminal Minds; but the favour of the content depends on the viewer as an individual. Furthermore, as the technology of television grew and advanced, the ability to maintain human interest followed in accordance. Dragnet, produced by NBC, was filmed in City Hall, Hollywood Boulevard, republic Studios and Walt Disney Studios, all within California (IMBD). Whereas Criminal Minds, produced by CBC, is filmed in various areas, Altadena, Glendale, Long Beach, Santa Clarita of California, and Vancouver British Coloumbia, Canada as well. According to Pamela Douglas, "it is not unusual to have a weekly TV drama in the $2-5 million dollar range", which about 10 times the cost of a single episode of Dragnet. As the world of television technology grows the expensive and elaboration of crime dramas follow.
The advancements in technology reflect the distinct cultural evolvement from the 1950's to 2005. Furthermore, crime paranoia contradicts the reduced crime rates through drama. Television is therefore used as a medium to communicate and shape the audience's perception of police, criminals and crime-a subconscious understanding. If a child sees 8,000 murders on television before graduating elementary school it becomes part of their nature in resolving conflict in the future (source). In other words, inaccurate descriptions of crime for the sole purpose of entertainment conflicts realistic perception. The realistic nature of crime and criminals is achieved in Dragnet, but does not fulfill the audiences need of thrill or suspense. Keeping the attention of a young audience is difficult, which poses potential for interactive television, like interactive gaming. If young audiences are raised with interactive crime dramas, will they grow up believing that it is morally acceptable? Will society allow the relationship between parents and children to diminish to the extent that a child is educated by means of television media?
I really need help on my thesis...and my paper is due tommorw!
PLEASE help :)
