HBO originally aired David Simon’s critically acclaimed crime drama The Wire in 2002. The show went on to air for five seasons, finishing in 2008 after a total of 60 hour long episodes. The series follows different social and institutional systems in the city of Baltimore, while concentrating on the inner-city drug scene. The Wire is unique with it’s extensively large cast, complex story lines and the overall authenticity in style. Simon uses an almost documentarian approach while commenting on “the immobility of society’s largest institutions” (Potter 201). The Wire moves away from the typical episodic style of television programs and becomes an example of what Jason Mittell refers to as “narrative complexity” (30). Mittell writes about the emerging wave of narrative complexity in television series in the 1990s in his article entitled “Narrative Complexity in Contemporary American Television”. He attributes new technologies and changes in the media industries in part to the rise of narrative complex television (30). …show more content…
While soap operas follow the serial narration, their content sets them apart from complex television. The Wire uses serial narration, with plot-lines spanning across episodes and even seasons. Furthermore, with The Wire, Simon assumes the audience has been watching since the beginning, and is uninterested in catching the viewer up or reminding them of past events. This is another feature of complex television that differentiates it from film or forms of episodic television
In the article “TV’s Callous Neglect of Working- Class America” written by Noel Murray explains the modern day TV shows un-relatable plots to Americans today. Murray describes how shows in the ‘50s through the ‘90s were relatable to Americans and how they lived their lives. The TV shows then were able to get such great reviews because the jobs the actors had in the shows were average money making jobs. The characters are meticulously when it came to how they used the money they earned. However, as the years have passed, the shows that are on today are not as relatable to Americans. The shows express the fantasy, perfect life that everyone strives to have, but in reality, it is not possible for every family. The programs on today do not convey the difficulties that average Americans face each day, causing the shows to become more and more relatable to average TV viewers.
I immediately had my reservations upon discovering that this was an ongoing television series, as that indicates that this would be drawn out and dramatized beyond what is necessary to serve entertainment
Imagine, if you will, a time that seemed innocent... almost too innocent. Imagine a nation under whose seemingly conformist and conservative surface dramatic social changes were brewing, changes as obvious as integration and as subtle as fast food. And imagine, if you will, a radical television show that scrutinized, criticized, and most importantly, publicized these changes, making the social turmoil of a nation apparent to its post-world war, self-contented middle-class citizens. But what if this television show was not as it appeared? What if it masqueraded as simple science fiction, and did not reveal its true agenda until viewers took a closer look? Let us examine how such a television program can become a defining force in the culture of a nation, a force that remains just as powerful almost forty-five years after it first appeared. Let us investigate the secrets of... The Twilight Zone.
The story A Television Drama, by Jane Rule is an exciting story about an unusual event, which the main character, Carolee Mitchell, experiences the end of. The story is about her quiet street becoming unusually busy with police officers, and how the man who is being chased by these officers ends up being outside her front door. Through the point of view of the story, the characterization and character change of Carolee Mitchell, and the setting of the story, A Television Drama is an exciting read. The story conveys how important it is to be aware of ones surroundings, and what is happening around oneself through these elements.
Tuchman, Gaye. The TV Establishment: Programming for Power and Profit. New Jersey: Prentice Hall, Inc., l971.
Young black men crowd the corners of Baltimore. They are all hard talk, hard jaws, and crisp white t-shirts as big as sails—strapped. One precocious boy witnesses a shootout near a drug lord’s stash house and takes up sticks to play guns ‘n’ robbers. His trajectory is as follows: he graduates from sticks and piss-balloons, to g-packs and real guns, to taunting cops with brown bags of excrement, to housecats and lighter fluid, to bold, cold-blooded murder. In the words of social reformer Charles Loring Brace, this boy is one of the dangerous class—an undisciplined, delinquent youth. A creation of David Simon’s for HBO’s crime drama, The Wire, the character of Kenard may be a fictionalization, but his presence adds to the much-praised realism of the series. There really are young boys like Kenard that exist on the streets of American cities—falling into the easy and familiar trap of the drug industry. The Wire makes a point to follow the tread of Baltimore’s youth throughout all of its five seasons, introducing the topic of juvenile delinquency to the considerable range of social issues the show discusses. The Wire almost flawlessly represents the factors which cause a young person to “defect”— from the failings of the city school district, a difficult home life, or the struggle of homelessness, to the surrounding environmental influences that arise from life in the city of Baltimore. However, while The Wire and its examination of causalities does many things for the discussion of Juvenile Delinquency on the whole—taking the conversation to levels no other scripted telev...
Nelson, R. (2009). Modernism and Postmodernism in Television Drama. In: Creeber, G Televisions: An Introduction to Studying Televsion. 2nd ed. London: British Film Institute . p.90.
One of the most interesting features about today’s media is that it connects many individuals in perplexingly short amounts of time. Through constant streaming, society has become extremely vulnerable by allowing themselves to be engrossed by the presented reality. The outcome is unsuspecting citizens that are mentally deformed by the adverse lies told to them. Gary Shteyngart exploits this reality through his successful novel, Super Sad True Love Story (2010) in which he creates a fictional world focusing on consumerism and commercialism. This fictive work creates an environment of secrecy in which the government actively displays more cover-ups and less controversial activity. Similarly, but to a much larger extent, Peter Weir’s film The Truman Show (1998) presents a city consisting of theatrical illusions surrounded by
Throughout the physical research of this study I have found out a lot more about this show than could have ever crossed minds before, one example being that this show has be premiered and marketed so well to the point that the viewer have almost no resistance to not believe what the show is trying to instill into our minds. These shows also categorize the characters, some are “good” guys and others are bad guys, but who is actually decided these labels? Are the categories fair? Many would say yes based off the plot line of the show, but some wonder if the bad guys have an equal amount of air time to defend themselves. These factors bring up a conflict of narration weather or not every character is portrayed in a way that they could be like-able which not the case in The Blacklist is. This “good” guy, bad guy routine is commonly used in crime shows and movies, but is not a true example of real life that these shows depict to do. In a sense these real-life shows are the complete opposite not giving the audience a real conclusion o...
Steven Johnson wrote an article for the New York Times in which he argues that back in the days, television shows use to have a very simple plot which was easy to follow without too much attention. It was just an other way to sit back and relax. However, throughout the years, viewers grew tired of this situation and demanded more complex plot lines with multiple story lines that related to recent news topics. He takes the example of the television show “24”. “24” is known for being the first show which its plot occurs in “real-time”, it is also known for not censuring the violence of its topics. It is a drastic change from what Johnson states as an example “Starsky and Hutch” where basically each episodes was only a repetition of the last one. Johnson also believes that there is a misconception of the mass culture nowadays where people think the television viewer wants dumb shows which in response makes them dumber. Johnson does not agree, for him, television shows such as “24” are “nutritional”. He also states that sm...
Other techniques that soap opera makers employ are the use of naturalism in the sets and characters, the time paralleling real time, the coverage of everyday issues as well as the big issues which actually happen very rarely but are very real.
One of the first points that Johnson brings up is Multi Threading. Since the early 2000’s, many shows have taken advantage of this device. Shows such as “The Sopranos”, “24”, and “Lost” all take advantage of multi threading. Just to prove the point that this is what the people want, all three of these shows were very popular. In fact, they all lasted for at least 6 seasons each, with “24” going for 8 seasons. The idea of multi threading is to create multiple plots all going on in a single episode. Yet, at the end of the episode usually all of the plots become tied into each other. This causes the viewer to think ahead of time. It leaves you wondering what is going to happen later in the episode, or even what could happen down the line. Often, so many subtle things are said that the viewer may not even realize what was said or done was important until an event occurs.
Smith, Aaron. “Transmedia Storytelling in Television 2.0.Strategies for Developing Television Narratives Across Media Platforms” A discussable version of Aaron Smith’s thesis for Middlebury College. (2009) Web. 19 Mar. 2014.
“A Cultural Approach to Television Genre Theory” argues that the application of film and literary genre theory do not fully translate when analyzing television, because of “the specific industry and audience practices unique to television, or for the mixture of fictional and nonfictional programming that constitutes the lineup on nearly every TV channel. 2” The goal of media genre studies, Mittell asserts, is to understand how media is arranged within the contexts of production and reception, and how media work to create our vision of the world.
Television has seen plenty of producers, writers and viewers attracted to crime and deviance. The crime drama series is not an unchanging structure but develops in an intricate relationship with audiences, media institutions, social contexts and other genres. Crime drama series’ structure often begins with some strains to the social order by criminal forces. Historically police officers or “cops” are good and the criminals are bad. However today we can notice “bent” cops and sometimes sympathetic villains.