1. MS4:
Text,
Industry
&
Audience
CSI:
Las
Vegas
1

2. MS4:
Text,
Industry
&
Audience
MS4
–
Text,
Industry
and
Audience
What
are
the
assessment
objectives?
A01:
Demonstrate
knowledge
and
understanding
of
media
concepts
(ideas),
contexts
(background
information)
and
critical
debates
(what
the
critics
think
and
other
influential
people,
academics
etc).
To
get
in
the
A
band
you
need
to
have:
A
sophisticated
understanding
of
media
texts,
their
industry
and
audience
contexts.
Use
detailed
examples
and
use
them
to
show
well-­‐established
viewpoints.
Highly
appropriate
use
of
media
terminology.
A02:
Apply
knowledge
and
understanding
when
analysing
media
products
(texts)
and
processes
(how
they
are
constructed
and
put
together,
e.g.
technical
and
visual
codes)
and
to
show
how
meanings
and
responses
are
created
(technical
and
visual
codes,
narrative,
representations
etc.)
How
does
the
audience
respond?
To
get
in
the
A
band
you
need
to
have:
A
sophisticated
analysis
of
the
relationship
between
text,
industry
and
audience.
Sophisticated
understanding
of
how
meanings
and
responses
are
created.
2

3. MS4:
Text,
Industry
&
Audience
The
Background
to
Channel
5
Channel
5
was
launched
in
1997
and
was
the
UK
fifth
terrestrial
channel
(free
to
air
over
the
analogue
signal
–
the
Granada
region
in
the
North
West
is
now
digital
and
the
free
channels
are
available
through
Freeview).
Out
of
the
five
channels,
it
has
lowest
audience
share,
around
5%
of
the
total
target
audience.
The
brands
in
the
Channel
5
stable
were
rebranded
in
February
2011.
The
brands
are
now
as
follows:
Channel
5:
Channel
5
was
launched
as
Britain's
fifth
and
final
terrestrial
broadcaster
on
the
31st
March
1997.
In
July
2010
the
Channel
5
network
was
sold
by
long
standing
shareholder
RTL
to
Northern
&
Shell.
Currently
well
over
30
million
UK
viewers
watch
Channel
5
any
given
week
tuning
in
for
programming
as
diverse
as
the
CSI
franchise,
Extraordinary
People,
Fifth
Gear,
live
UEFA
Europa
League
Football,
Home
and
Away
and
Neighbours,
5
News
as
well
as
the
channel's
award
winning
children's
strand,
Milkshake!
5*
launched
as
Five
Life
in
October
2006,
becoming
FIVER
on
28th
April
2008
and
5*
on
7th
March
2011.
The
channel
is
attracting
increasing
numbers
of
younger
viewers
with
a
range
of
younger,
faster,
ruder
programming.
It
has
a
rich
mix
of
the
best
acquired
and
originated
programming
and
already
has
seen
a
number
of
high-­‐profile,
new
programmes
including
Archer,
Burn
Notice,
Melrose
Place,
Californication,
Sex
and
the
City
and
The
City.
Channel
5's
American
cousin,
5USA
(formerly
Five
US),
launched
on
16th
October
2006
and
is
now
the
11th
highest
rating
multichannel
in
the
UK
during
prime
time.
5USA
brings
UK
viewers
the
slickest,
smartest
Amercian
drama
series,
including
CSI,
CSI
New
York,
CSI
Miami,
Numb3rs
and
The
Mentalist,
as
well
as
a
combination
of
established
and
new
drama;
comedy;
films;
sport
and
youth
programming.
5USA
is
still
growing
its
audience.
In
2008,
the
average
audience
share
for
Five
US
was
+14%
greater
than
2007.
The
channel
changed
its
name
from
Five
US
to
5USA
on
February
16th
2009.
Channel
5
was
the
first
terrestrial
broadcaster
to
offer
a
download
service
when
it
launched
5
Download
in
September
2006.
Relaunched
as
Demand
5
in
July
2008,
Channel
5’s
video-­‐on-­‐demand
service
achieves
over
10
million
video
streams
a
month.
The
online,
Smart
TV
and
set-­‐top
box
catch-­‐up
service
provides
viewers
with
online
access
to
a
significant
percentage
of
Channel
5's
peaktime
schedule,
including
Big
Brother,
and
much
of
its
hit
acquired
content,
such
as
Alphas,
CSI
and
Neighbours.
The
offering
is
extended
with
a
raft
of
original
programming,
including
Fifth
Gear,
The
Gadget
Show,
The
Hotel
Inspector
and
Paul
Merton’s
Adventures.
An
extensive
archive
of
older
Channel
5
programming
is
available
to
be
streamed
on
the
website,
for
free,
at
any
time.
Channel
5
is
working
tirelessly
with
production
companies
and
rights
holders
to
expand
the
content
offering
of
Channel
5,
5*
and
5USA
on
the
service.
Demand
5
is
also
available
on
YouTube,
Virgin
Media,
BT
Vision
and
Sony
Bravia
connected
TV.
You
can
also
download
the
free
Demand
5
app
for
iPad,
iPhone
and
iPod
Touch
from
the
Apple
app
store.
3

4. MS4:
Text,
Industry
&
Audience
Channel
5
audience
2012
Statistics
Channel
5
is
the
fifth
most
popular
channel
in
the
UK,
claiming
a
4.2%
share
of
viewing
across
the
whole
of
2012
Year
on
year
viewing
to
the
channel
was
up
amongst
all
viewers.
In
addition
we
grew
the
commercially
attractive
young
and
upmarket
audiences
In
a
typical
month
we
reach
45
million
people
Channel
5
provides
viewers
with
a
varied
mix
of
programming
which
includes
entertainment,
sport,
documentaries,
kids,
drama,
News
and
films.
Our
most
popular
commission
in
2012
was
Celebrity
Big
Brother,
which
reached
an
audience
high
of
3.9
million
New
programmers
joining
the
commissioning
slate
across
the
year
included
Celebrity
Wedding
Planner,
Benidorm
ER,
World
Scariest,
Cowboy
Traders
and
Killers
Behind
Bars
Channel
5
is
also
home
to
the
biggest
US
dramas.
As
well
as
continuing
with
hit
series
such
as
CSI,
NCIS
and
The
Mentalist
in
the
past
year
we
have
introduced
UK
audiences
to
new
acquisitions
such
as
Once
Upon
A
Time,
Body
Of
Proof,
Person
Of
Interest
and
Dallas.
Source:
BARB,
2012
Channel
5’s
rules
under
the
OFCOM
licence:
Under
the
terms
of
its
licence,
Channel
5
must
have
60%
of
its
programming
commissioned
specifically
for
the
station
–
at
least
42%
must
be
original
programming
for
the
channel,
in
peak
viewing
time
(between
5pm
and
11pm).
At
least
10%
of
programmes
made
for
the
channel
must
be
produced
outside
the
M25
area
(London)
thus
ensuring
regional
representation
in
programme
making.
Task:
Using
the
above
information,
read
through
and
answer
the
following
questions:
1. What
is
the
average
audience
for
Channel
5?
2. How
many
channels
are
there
under
the
Channel
5
brand?
3. What
percentage
of
programming
has
to
be
original
to
Channel
5
in
peak
time?
4. How
long
has
the
channel
been
on
air?
5. How
many
people
on
average
tune
in
a
week?
Channel
5
and
typical
genres:
The
general
acquisitions
strategy
of
Channel
5
has
been
to
target
what
Channel
5
has
billed
as
“unique
drama”
that
will
appeal
to
a
broad
audience,
largely
from
the
bigger
broadcast
networks
in
the
United
States.
There
has
been
the
occasional
comedy
acquisition
over
the
years,
but
they’ve
rarely
lasted
on
the
channel.
Key
to
recent
ratings
performance
has
been
certain
high
profile
acquisitions
such
as
the
CSI
franchise
and
The
Mentalist,
while
original
commissions
have
also
been
important,
with
Channel
5
recently
indicating
that
they
would
be
looking
beyond
factual
entertainment
and
may
commission
an
original
drama
series
within
the
next
12
months.
4

5. MS4:
Text,
Industry
&
Audience
By
and
large
the
acquisitions
strategy
has
panned
out,
with
the
channel’s
highest
rating
imports
being
CSI:
Crime
Scene
Investigation
(2.44
Million
Viewers),
The
Mentalist
(1.97
million
viewers),
Person
of
Interest
(1.7
million
viewers)
and
Once
Upon
A
Time
(1.5
million
viewers).
That
said,
with
the
recent
staff
changes
at
Channel
5
there
has
been
a
slight
change
in
strategy.
New
Director
of
Programmes
Ben
Frow
has
stated
his
desire
to
make
Channel
5′s
schedule
“less
American
driven”
and
this
change
has
already
been
signified
with
the
recent
acquisitions
of
Australian
drama
Wentworth
and
Irish
drama
Love/Hate.
There
has
also
been
recent
chatter
that
by
early
next
year
Channel
5
will
be
shifting
all
of
its
acquisitions
to
the
10pm
hour.
That
said,
US
series
are
still
going
to
be
a
key
part
of
Channel
5′s
schedule
and
as
such
most
of
their
current
imports
will
be
returning.
I’ve
confirmed
that
the
broadcaster
has
picked
up
the
UK
rights,
from
various
distributors,
to
CSI:
Crime
Scene
Investigation
season
14,
Dallas
season
3,
The
Mentalist
season
6
and
Person
of
Interest
season
2.
They
will
all
return
to
Channel
5
later
this
year
or
early
next
alongside
recent
acquisitions
The
Bible,
Under
The
Dome
and
Wentworth.
CSI:
Crime
Scene
Investigation
Created
by
Anthony
Zuiker,
CSI:
Crime
Scene
Investigation
follows
the
exploits
of
a
group
of
crime
scene
investigators
working
for
the
Las
Vegas
police
department.
The
drama
series
is
produced
by
CBS
Television
Studios
and
stars
Ted
Danson,
Elisabeth
Shue,
George
Eads,
Jorja
Fox,
Paul
Guilfoyle,
Eric
Szmanda,
Robert
David
Hall,
Wallace
Langham,
David
Berman,
Elisabeth
Harnois
and
Jon
Wellner.
CSI:
Crime
Scene
Investigation
has
long
been
a
fixture
on
Channel
5’s
schedule,
with
the
broadcaster
having
been
the
home
of
first
run
episodes
since
the
series
launched
in
the
UK
in
the
early
2000s.
Admittedly,
on
a
certain
level,
CSI:
Crime
Scene
Investigation
(and
the
entire
CSI
franchise
as
a
whole)
has
become
irrevocably
identifiable
with
the
Channel
5
brand.
And
for
good
reason,
even
in
repeat
airings
the
series
draws
big
numbers
for
Channel
5,
while
new
episodes
frequently
pull
in
in
more
than
2
million
viewers.
The
show’s
12th
season
premiered
on
Channel
5
in
March
2012
and
averaged
an
audience
of
2.5
million
viewers,
ranking
as
Channel
5’s
highest
rated
first
run
US
import.
The
show’s
most
recent
season,
the
show’s
13th,
followed
in
February
of
this
year
and
did
see
a
slight
dip
in
the
ratings;
averaging
an
audience
of
2.44
million
viewers,
down
a
mere
2%
on
last
year
but
once
again
ranking
as
the
highest
rated
US
series
currently
airing
on
Channel
5.
Under
the
terms
of
a
longstanding
multi-­‐year
agreement
with
CBS
Studios
International
Channel
5
holds
the
rights
to
the
upcoming
14th
season
of
CSI:
Crime
Scene
Investigation.
From
www.tvwise.co.uk
5

6. MS4:
Text,
Industry
&
Audience
CSI
and
Channel
5
York.
One
of
mainstays
of
the
Channel
5
schedule
is
CSI
and
its
spin
off
shows
CSI
Miami
and
CSI
New
The
original
series,
CSI:
Las
Vegas
premiered
on
the
American
TV
channel
CBS
on
October
6,
200.
The
show
follows
a
team
of
forensic
investigators
(crime
scene
investigators)
as
they
piece
together
information
and
work
out
the
often
gruesome
details
of
murders.
The
show
was
created
by
TV
producers
Jerry
Bruckheimer
and
Anthony
E
Zuiker.
The
show
is
now
in
its
12
series
in
America.
Original
casting:
In
the
original
cast,
William
Petersen
plays
the
Las
Vegas
Police
Department
(LVPD)
crime
lab's
night-­‐shift
supervisor
Dr.
Gil
Grissom,
a
socially
awkward
entomologist.
Marg
Helgenberger
plays
Catherine
Willows,
a
single
parent,
and
former
stripper,
who
worked
her
way
through
the
ranks
from
a
Lab
Technician
to
CSI
and
upon
Grissom's
departure,
to
supervisor.
George
Eads
plays
Nick
Stokes,
a
CSI
Level
2
from
Texas,
who
was
eager
to
show
his
worth
to
Grissom.
Stokes
became
a
CSI
Level
3
at
the
end
of
the
pilot
episode.
Early
recurring
cast
members
included
Eric
Szmanda
as
DNA
Tech
Greg
Sanders,
who
aspires
to
be
a
CSI,
and
Robert
David
Hall,
introduced
early
in
the
first
season
as
Chief
Medical
Examiner
Dr.
Albert
Robbins,
a
double-­‐amputee.
Both
became
regular
cast
members
in
the
first
episode
of
season
3.
Later
in
the
series,
Sanders
transfers
to
the
field
as
a
rookie
Crime
Scene
Investigator
and
begins
progressing
through
the
ranks.
Louise
Lombard
joined
the
cast
in
season
5
as
the
Day
Shift
Supervisor,
but
was
subsequently
transferred
to
Grissom's
team.
Sofia
Curtis
became
a
Detective
in
season
6.
After
a
single
appearance
in
season
8,
Lombard
left
the
cast
with
no
explanation.
Grissom's
supervisory
position
was
filled
by
a
newly
promoted
Catherine
Willows
(Helgenberger),
and
Laurence
Fishburne
joined
the
cast
as
CSI
Dr.
Ray
Langston.
Lauren
Lee
Smith
briefly
played
CSI
Riley
Adams,
but
left
shortly
after
in
the
season
9
finale.
Adams'
exit
interview
would
cause
tension
throughout
the
team,
and
eventually
lead
to
Willows
to
promoting
Stokes
to
Assistant
Supervisor.
Following
Fishburne's
departure,
Ted
Danson
was
cast
as
the
new
CSI
Supervisor
DB
Russell,
replacing
Helgenberger's
Willows,
who
had
been
demoted
following
the
events
of
Season
11.
Elisabeth
Harnois,
who
had
guest
starred
one
episode
in
season
11,
joined
the
regular
cast,
playing
former
LAPD
SID
officer
Morgan
Brody,
the
daughter
of
Conrad
Ecklie.
Marg
Helgenberger
will
depart
the
cast
in
episode
12
of
the
new
series,
and
be
replaced
by
Elisabeth
Shue
in
episode
14.
CSI
CSI
is
a
fast-­‐paced
drama
about
a
team
of
forensic
investigators
trained
to
solve
crimes
by
examining
the
evidence.
They
are
on
the
case
24/7,
scouring
the
scene,
collecting
the
irrefutable
evidence
and
finding
the
missing
pieces
that
will
solve
the
mystery.
Gil
Grissom,
shift
supervisor,
heads
the
team
of
investigators
at
the
Crime
Lab
in
Las
Vegas.
The
team
includes
Catherine
Willows,
a
hard-­‐working
single
parent
with
a
checkered
past
and
a
teenage
daughter
she's
raising
on
her
own;
Warrick
Brown,
a
top
analyst
with
insider
knowledge
of
the
gambling
world;
Nick
Stokes,
a
true-­‐blue
stand-­‐up
guy
who
empathizes
with
victims
via
his
own
experiences;
and
Greg
Sanders,
the
wacky
tech
analyst
turned
field
investigator.
The
CSI
team
members
also
work
closely
with
Capt.
Jim
Brass,
the
former
chief,
now
assigned
to
Homicide,
Dr.
Albert
Robbins,
the
ever-­‐professional
medical
examiner
and
David
Hodges,
a
lab
technician
with
a
specialty
in
trace
and
foreign-­‐substance
analysis.
6

7. MS4:
Text,
Industry
&
Audience
CSI:
New
York
CSI:
NY,
a
crime
drama
inspired
by
the
drama
series,
CSI:
CRIME
SCENE
INVESTIGATION,
is
about
forensic
investigators
who
use
high-­‐tech
science
to
follow
the
evidence
and
solve
crimes
in
the
Big
Apple.
Det.
Mac
Taylor,
a
dedicated
and
driven
crime-­‐scene
investigator
who
believes
that
everything
is
connected
and
everyone
has
a
story,
is
a
decorated
Marine
who
served
in
Desert
Storm
and
dabbled
in
war
photography.
The
job
is
his
life;
he
focuses
on
cases
until
they
are
solved.
He
and
his
partner,
Stella
Bonasera,
a
well-­‐traveled,
well-­‐educated
detective,
an
orphan
who
flourished
in
spite
of
the
system,
share
a
passion
for
the
job.
Stella
is
a
jack-­‐of-­‐all-­‐trades
and
has
an
unmatched
desire
to
find
answers
for
the
victims
of
violent
crimes,
due
in
part
to
questions
about
her
past.
They
lead
a
team
of
experts
through
the
gritty
and
kinetic
city
that
never
sleeps.
The
team
includes
Danny
Messer,
an
investigator
with
an
unflappable
spirit
and
a
troubled
family
history,
which
he
uses
on
the
job
as
he
blends
his
own
set
of
hybrid
ethics.
Messer
was
personally
selected
to
join
the
team
by
Mac,
and
he
attempts
daily
to
live
up
to
that
honor
and
responsibility.
Sheldon
Hawkes
is
the
crime
lab's
former
coroner,
a
brilliant
Ph.D.
who
transitioned
to
the
field
team.
Joining
them
is
Don
Flack,
an
edgy,
hardcore
homicide
detective
with
a
quick
wit,
impressive
forensic
insight
and
a
long
family
history
in
law
enforcement.
Rounding
out
the
team
is
Lindsay
Monroe,
a
young,
athletic
CSI
with
a
Midwestern
work
ethic
who
is
willing
to
roll
up
her
sleeves
to
tackle
any
job
and
rarely
hints
at
the
dark
and
devastating
secret
that
originally
motivated
her
to
dedicate
her
life
to
being
an
investigator.
The
New
York
CSIs
may
have
a
different
process
from
those
in
Las
Vegas
or
Miami,
but
they
are
guided
by
the
same
steadfast
determination.
These
skilled
investigators
follow
the
evidence
as
they
piece
together
clues
and
eliminate
doubt,
to
ultimately
crack
their
cases.
CSI
New
York
ran
from
2004
until
2013.
CSI:
Miami
Inspired
by
the
top-­‐
rated
series
"CSI:
Crime
Scene
Investigation,"
CSI:
MIAMI
is
a
drama
that
follows
a
South
Florida
team
of
forensic
investigators
who
use
both
cutting-­‐edge
scientific
methods
and
old-­‐fashioned
police
work
to
solve
crimes.
Horatio
Caine,
a
former
homicide
detective,
heads
a
group
of
investigators
who
work
crimes
amid
the
steamy
tropical
surroundings
and
cultural
crossroads
of
Miami.
His
team
includes
Calleigh
Duquesne,
a
bilingual
Southern
beauty
with
a
specialty
in
ballistics;
Eric
Delko,
an
underwater
recovery
expert
who
knows
all
the
twists
and
turns
of
the
Florida
waterways,
and
Ryan
Wolfe,
a
former
patrol
officer
who
specializes
in
blood
and
trace
evidence.
Rounding
out
the
team
is
Alexx
Woods,
the
no-­‐nonsense
know-­‐it-­‐all
coroner,
and
Natalia
Boa
Vista,
the
enigmatic
DNA
specialist.
Helping
Horatio
with
cases
is
Det.
Frank
Tripp,
a
tough
yet
thorough
police
officer.
Together,
these
investigators
collect
and
analyse
the
evidence
to
solve
the
crimes
and
to
avenge
those
who
cannot
speak
for
themselves-­‐-­‐the
victims.
CSI
Miami
ran
from
2002
until
2012.
7

8. MS4:
Text,
Industry
&
Audience
Genre:
The
Cop
Show
The huge popularity of crime shows on TV shows how influential the
Genre:
A
way
to
categorise
texts.
genre has become both as a tool for advertisers and broadcasters to
John
Fiske
argues
genre
is:
make money. As a genre, there are many specific elements which are
Ø A
set
of
codes
&
typical codes and conventions.
conventions
Ø Action is based on binary opposites
Ø A
way
of
setting
up
Ø Chase sequences often feature
audience
expectations
Ø Mise en scene is often dirty and cramped
Ø Culturally
dependent
–
Ø Emphasis is made on the tools of the trade, e.g.
different
cultural
groups
iconography of guns, suits, cars etc.
construct
different
Ø The ideology of the police being there to protect us is
expectations
usually evident
Ø The
genre
is
defined
by
Ø The narrative resolution makes us feel safe at the end of
signs
(visual
and
aural)
the episode. We tune in to watch the hero arrest the
criminals
Ø The
genre
is
defined
by
Ø The main character is often troubled and has personal
ideologies
and
generic
tragedy to deal with (usually a white male)
narratives
Ø The hero often has a side-kick
Ø Crime dramas fill over 20% of the prime time schedule in
markets throughout the English speaking world. CSI & its spin-offs is watched by viewers in 200
countries across the globe
There are 3 typical types of crime drama in the modern era –
1) the traditional detective drama where the hero chases the villains and locks them up. Criminals are
often stereotyped characters, remote from the audience. The main detective has a troubled personal life or
tragedies he deals with. A Touch of Frost and Ashes to Ashes are examples of this.
2) The soap opera influenced cop show, focusing on characters based in a station (such as The Bill).
Personal stories of the characters dominate the narrative, and we focus on the police and procedures. Criminals
are often sterotypes.
3) The Pyscho-crime dramas, focusing on the gruesome & the forensic detection process. Often these focus
on the serial killer (such as Wire in the Blood and Trial and Retribution ). CSI focuses on the forensic team
with the detectives as secondary characters.
*
Key
point
–
globalisation
–
as
the
world
has
become
smaller
thanks
to
technology
such
as
the
internet,
our
cultural
experiences
have
become
globalised
as
well.
Critics
of
this
global
village
argue
that
our
values
and
ideologies
are
constructed
through
our
shared
viewing
of
news
and
drama.
Reception
theory
argues
we
are
active
in
choosing
our
values
and
ideologies
and
programmes
reflect
our
actual
ideologies,
not
create
them.
8

9. MS4:
Text,
Industry
&
Audience
CSI
main
cast
list:
Series
12,
broadcast
on
Channel
5
2012.
9

10. MS4:
Text,
Industry
&
Audience
The
CSI
shot
Part
of
the
appeal
of
CSI
is
its
visual
style
and
a
key
part
of
this
is
what
is
known
as
the
‘CSI
shot”.
‘The
programme’s
signature
evocation
of
penetrative
‘wound-­‐cam’
technology
in
some
ways
mimics
and
borrows
from
the
realist
connotations
of
footage
drawn
from
the
endoscopic
cameras
used
in
surgery
to
explore
the
body,
images
which
have
become
a
staple
of
medical
documentary
programmes.
But
,at
the
same
time,
these
sequences
and
their
deployment
of
CGI
–
labelled
the
CSI
–shot
by
the
programme’s
producers
–
are
clearly
about
spectacle
and
capture
more
of
the
physical
drama
of
the
body’s
interior
than
any
real
medical
probe
ever
could.
Through
the
CSI-­‐shot
–
penetrating
skin,
arteries
and
organs
to
take
the
audience
on
a
spectacular
visual
ride
through
the
corporeal
–
the
boundaries
not
merely
of
the
genre,
or
of
television,
but
of
the
body
itself
have
been
dissolved.’
–
Body
Matters,
Realism,
Spectacle
and
the
Corpse
in
CSI,
by
Deborah
Jermyn
(from
Reading
CSI)
10

11. MS4:
Text,
Industry
&
Audience
TV
review:
CSI,
Ted
Danson
might
play
an
intellectual,
but
he'll
struggle
to
make
sense
of
CSI
Zoe
Williams
The
Guardian,
Tuesday
13
March
2012
22.00
GMT
'An
octopus?
Really?'
…
Marg
Helgenberger,
Jorja
Fox
and
Ted
Danson
in
CSI.
Photograph:
Robert
Voets/CBS
CSI
(Channel
5)
is
now
in
its
12th
series,
which
is
just
about
the
only
way
you
could
explain
it:
every
permutation
of
homicidal
human
and
maladroit
animal
has
already
been
covered.
They
start
the
series
at
the
very
bottom
of
the
barrel;
they
are
one
plotline
away
from
introducing
an
alien.
But
they
also
have
Ted
Danson,
so
it's
not
all
bad
news:
"Look
at
that,"
he
says,
pointing
to
the
rust
formation
in
the
ceiling
of
a
Las
Vegas
casino
tramcar
wherein
two
humans
have
expired.
"It
looks
just
like
the
Centaurus
constellation.
Isn't
that
neat?"
This
is
supposed
to
mark
him
out
as
an
annoying
intellectual,
even
though
the
statement
is
only
true
if
you
take
as
your
opening
position
that
all
splodges
look
a
little
bit
like
stars.
"And
that
looks
like
a
ricochet."
Ah
ha!
He's
an
annoying
intellectual,
but
he
knows
his
way
around
a
likely
bullet
trajectory.
Jorja
Fox
seems
to
like
him,
although
she
gives
people
that
look
("You're
interesting,"
it
says.
"I'd
sure
like
to
know
more
about
you")
even
when
they're
dead.
Particularly
when
they're
dead.
I'm
going
to
issue
a
spoiler
alert,
though
its
spoiling
a
dish
that's
already
inedible.
The
deaths
occurred
when
a
man,
Tom,
leapt
onto
a
train,
having
been
inconveniently
but
not
tragically
stabbed,
because
he
was
soon
to
die
anyway
of
lung
cancer.
His
brother,
Jimmy,
tries
to
kill
himself
by
putting
a
sandwich
bag
over
his
head
and
lying
in
the
bath.
This
is
what
happens,
kids,
when
you
get
your
suicide
tips
off
the
internet.
Sometimes
it's
better
just
to
go
back
to
19th
century
literature.
Jimmy
is
scared
of
being
implicated
in
Tom's
partial-­‐but-­‐not-­‐really
murder,
plus
he
feels
guilty
because
he
wasn't
concentrating
–
he
was
busy
ogling
a
prostitute
who
had
an
octopus
in
her
handbag.
Her
intention
was
to
use
it
for
sex,
later,
before
a
live
audience
(the
octopus
was
also
live,
before
someone
11

12. MS4:
Text,
Industry
&
Audience
shot
it).
It's
a
resounding
argument
for
the
free
market
as
the
agent
of
diversity.
In
a
city
with
enough
sex
shows,
there's
no
one
who
isn't
catered
for.
Sorry,
back
to
the
prostitute
–
although
Japanese
by
descent,
her
short,
snooty
vowels
betray
that
she
is
English.
Of
course
she
is.
What
other
kind
of
freak
shags
an
octopus?
The
one
in
her
bag
was
called
Claude
and
ate
shrimp.
"He
was
fussy,
but
he
was
worth
it."
Huh.
It
transpires
that
she
was
actually
in
love
with
the
octopus.
Ted
Danson,
intuiting
this,
uses
it
dazzlingly
to
his
own
advantage.
The
programme
has
that
West
Wing
atmosphere,
where
sentences
explode
fast
and
leave
you
wondering
whether
it
was
the
individual
words
you
didn't
understand,
or
the
order
in
which
they
came.
Unlike
West
Wing,
it
turns
out
you
didn't
understand
it
because
it
was
animal
crackers.
While
our
not-­‐quite-­‐a-­‐heroine
was
testing
the
boundaries
of
fidelity
with
her
eight-­‐membered
lovetoy,
down
the
road
a
man
was
found
dead
with
his
skin
wrinkled
clean
away
from
his
muscle
mass.
His
demise
is
actually
too
complicated
to
go
into
here;
enough
to
say
that
when
a
deer
kicks
you
in
the
stomach,
there
are
probably
things
you
could
do
that
would
promote
a
faster
return
to
health
than
attaching
a
high-­‐pressure
airvalve
to
your
wound
and
inflating
your
torso.
That's
the
real
problem
–
not
that
CSI
has
exhausted
all
possible
causes
of
death
proffered
by
the
modern
world;
rather
that,
leechlike,
they
have
sucked
all
the
blood
out
of
sentient
humanity.
They're
left
with
a
ragtag
of
characters
so
improbably
reckless
that
the
mystery
is
not
how
they
died,
but
how
they
managed
to
survive
so
long.
©
2013
Guardian
News
and
Media
Limited
or
its
affiliated
companies.
All
rights
reserved.
12

13. MS4:
Text,
Industry
&
Audience
Series
12:
Episode
1:
73
seconds
Ted
Danson
joins
the
cast
as
the
team's
new
boss
DB
Russell,
whose
first
job
is
to
investigate
a
shootout
on
a
tram
that
left
two
dead
and
three
injured.
The
only
physically
unhurt
passenger
is
a
boy
who
is
too
traumatised
to
speak
about
the
incident,
leaving
investigators
struggling
to
determine
what
he
saw
-­‐
until
Russell
finds
a
way
to
get
through
to
him.
Meanwhile,
Sara
and
Greg
are
puzzled
by
a
case
in
which
a
young
man's
corpse
appears
to
have
the
skin
of
a
much
older
person,
and
Ecklie's
estranged
daughter
Morgan
Brody
(Elisabeth
Harnois)
joins
the
team.
13

14. MS4:
Text,
Industry
&
Audience
Representational issues Police, investigators, criminals
Stereotypes?
How does editing allow the audience to have particular perceptions of characters?
Ideologies – of America, of crime
Key narrative features – binary opposites, action and enigma codes
Audience appeal – link to codes and conventions and ideologies
14

15. MS4:
Text,
Industry
&
Audience
Series
12
–
1.73
Seconds
Task
–
Complete
the
boxes,
following
the
sequence
of
the
episode
Narrative order – Recount the order of the story
Enigmas present – list the enigmas in the programme
Mise-en-scene – colours used, locations, set style, characters
behaviour and dress
CSI shots and reconstructions – CGI scenes, what-if?
Reconstructions (visual recounts of unseen story)
15

16. MS4:
Text,
Industry
&
Audience
In
pairs,
consider
the
episode
in
relation
to
the
following
issues:
Character
representation
and
appeal:
How
could
you
apply
Uses
&
Gratifications
theory
to
the
show?
Give
specific
examples
to
back
up
your
points.
Representational
issues
–
the
role
of
the
police
and
the
CSI
team
–
representations
of
criminals
-­‐
what
is
stereotypical
and
what
challenges
assumptions
about
characters?
Contextual
issues:
Research
shows
the
average
American
crime
drama
shows
18
counts
of
violence
in
1
hour
episode.
One
of
the
criticisms
of
crime
dramas
is
that
they
make
the
audience
anxious
about
crime
itself.
George
Gerbner’s
research
on
cultivation
effects
claims
crime
shows
create
a
‘scary
world’,
making
the
viewer
think
the
real
world
outside
is
as
scary.
Richard
Sparks
says
the
opposite
view
in
his
book
Television
and
the
Drama
of
Crime,
arguing
that
because
in
the
crime
shows,
the
crime
is
solved,
we
are
being
exploited
through
our
fears
for
entertainment
and
are
ultimately
reassured
because
the
crimes
are
solved
and
we,
the
public,
are
safe
again.
16

17. MS4:
Text,
Industry
&
Audience
CSI:
Series
12,
Episode
2
Tell-­‐Tale
Hearts
Learning
objectives:
Ø
Ø
To be able to analyse and explore the genre links in CSI and how these are constructed for the audience.
To identify the typicality of the show and audience appeal.
The murder of a family on an eco-friendly housing estate initially seems to be a straightforward case when the
evidence points to a neighbour, who quickly confesses. However, a woman then walks into the precinct and admits
carrying out the killings - but her testimony leads the investigators to another potential suspect, who also claims to
be the sole culprit. As Russell, Willows and the team try to make sense of what is happening, they begin to realise all
three of the supposed perpetrators might be hiding something. Crime drama, starring Ted Danson and Marg
Helgenberger, with Amy Davidson (8 Simple Rules).
17

18. MS4:
Text,
Industry
&
Audience
Representational issues Police, investigators, criminals
Stereotypes?
How does editing allow the audience to have particular perceptions of characters?
Ideologies – of America, of crime
Key narrative features – binary opposites, action and enigma codes
Audience appeal – link to codes and conventions and ideologies
18

19. MS4:
Text,
Industry
&
Audience
Series
12
–
Tell-­‐Tale
Hearts
Task
–
Complete
the
boxes,
following
the
sequence
of
the
episode
Narrative order – Recount the order of the story
Enigmas present – list the enigmas in the programme
Mise-en-scene – colours used, locations, set style, characters
behaviour and dress
CSI shots and reconstructions – CGI scenes, what-if?
Reconstructions (visual recounts of unseen story)
19

20. MS4:
Text,
Industry
&
Audience
Learning
objectives:
Ø To
identify
audience
appeal
and
pleasure
in
watching
CSI
Ø To
link
typical
ideologies
associated
with
the
crime
genre
to
CSI
Starter:
Recap
on
the
narrative
structure
of
the
viewed
episode,
Tell-­‐Tale
Hearts
Task:
To
link
genre
and
the
crime
show
to
CSI
and
then
consider
how
CSI
can
be
appealing
to
the
audience.
Work
in
pairs,
and
feedback
responses.
Each
person
to
fill
in
one
of
the
following
and
then
share
with
your
partner.
Audience responses
Uses and Gratifications
Textual evidence
Encoding/Decoding: Preferred, negotiated & oppositional
readings of characters, America, the role of police and
forensic officers
20

21. MS4:
Text,
Industry
&
Audience
Genre
links:
Look
at
the
features
of
the
cop
genre
sheet.
What
typical
features
of
the
genre
are
evident
in
the
episode?
Representations
of
key
forensic
team:
Narrative
features:
Think
about
Todorov
and
the
disruptions
to
the
narrative
&
the
final
resolution.
Representations
of
criminals
21

22. MS4:
Text,
Industry
&
Audience
Pick
a
scene
from
the
episode
and
in
bullet
points,
explain
how
the
scene
typifies
the
genre
and
what
appeal
does
it
have
for
the
audience?
•
•
•
•
•
•
22

23. MS4:
Text,
Industry
&
Audience
Learning
Objectives:
To
consider
the
promotional
material
for
Five
and
CSI
To
analyse
the
impact
of
globalisation
on
television
To
consider
the
ideologies
transmitted
about
America
Marketing
and
promotion
of
CSI
Starter:
CSI
and
its
spin
offs
are
watched
in
over
200
countries
with
a
combined
audience
of
2
billion
people.
Recap:
Do
you
know
what
cultural
imperialism
is?
How
can
it
be
applied
to
CSI?
The
CSI
franchise
is
so
popular
that
it
has
had
a
huge
cultural
impact
on
audiences
worldwide.
Because
of
the
escapist
nature
of
the
shows,
the
programmes
have
been
criticised
for
creating
unrealistic
expectations
of
forensic
investigation
–
referred
to
as
the
CSI
effect.
This
has
had
an
impact
in
real-­‐life
jury
situations
where
the
jurors
have
unrealistic
expectations
on
forensic
evidence
and
the
role
of
investigators.
Interestingly,
so
apparently
convincing
is
the
programme’s
depiction
of
the
capabilities
of
forensics
that
it
has
been
credited
as
having
impacted
on
‘real
life’
perceptions
of
court
cases,
as
witnessed
by
the
emergence
of
the
so-­‐called
‘CSI
Effect’.
In
a
cover
story
taken
from
USA
Today
in
2004,
according
to
legal
analysts
in
the
US,
‘the
CSI
effect
points
to
how
the
massive
popularity
of
CSI
and
comparable
generic
programmes
such
as
Law
&
Order
is
“affecting
action
in
courthouses
across
the
United
States
by
…raising
jurors’
expectations
of
what
prosecutors
should
produce
at
trial…Jurors
who
are
regular
viewers
expect
testable
evidence
to
be
present
at
all
crime
scenes”,
thus
making
it
harder
to
secure
convictions
in
the
very
many
cases
where
such
evidence
doesn’t
exist.
(Body
Matters,
from
Reading
CSI)
How
can
this
be
used
in
an
audience
response
question?
23

24. MS4:
Text,
Industry
&
Audience
From
The
Guardian,
by
David
Stubbs,
2010
CSI
has
gripping
whodunnit
plotlines,
innovative
CGI
and
an
adventurous
soundtrack
.
.
.
what's
not
to
enjoy?
This
week
the
three
CSI
(Crime
Scene
Investigation)
series
will
be
linked
in
a
trilogy
of
episodes.
CSI:
Las
Vegas's
Laurence
Fishburne
stars
as
Dr
Raymond
Langston,
who
travels
to
Miami
and
New
York
to
hook
up
with
the
stars
of
the
two
spin-­‐offs.
So
CSI
New
York's
Detective
Mac
Taylor
(Gary
Sinise)
and
Miami's
Lieutenant
Horatio
Caine
(David
Caruso)
will
be
on
hand
to
help
solve
a
series
of
interlinked
crimes.
It
will
be
a
unique
chance
for
CSI
novices
to
see
the
juxtaposition
of
the
three
CSI
leads.
There's
the
professorial
Langston,
Taylor,
whose
fierce
devotion
to
duty
is
fuelled
by
the
loss
of
his
wife
in
9/11,
and
Caine,
whose
habit
of
hitching
his
sunglasses
and
delivering
deadpan
one-­‐liners
has
attracted
devotion
and
derision
in
equal
measure.
The
secret
to
watching
CSI
is
to
take
it
for
what
it
is
and
enjoy.
Hill
Street
Blues
it
ain't.
The
main
characters
have
intriguing,
turbulent
back
stories
and
occasional
departmental
romances
blossom
between
the
photogenic
investigators,
but
it's
the
whodunnit
plotlines
that
grip
the
attention.
These
are
routinely
outlandish
–
a
Hollywood
star
murdered
while
partying
with
groupies,
a
mystery
involving
the
mass
suicide
of
a
UFO
cult,
a
half-­‐
naked
woman
found
buried
in
the
desert
with
her
hair
and
right
hand
missing.
The
Wire
it
ain't
either.
There's
no
more
attempt
to
depict
the
sociology
of
crime
than
in
a
Cluedo
set.
And,
happily
for
the
newcomer,
episodes
are
mostly
self-­‐contained,
requiring
little
previous
knowledge
of
character
or
situation.
You
can
leap
straight
in.
No
need
to
know
the
minor
characters.
What
CSI
does
so
well
is
to
combine
the
old-­‐school
values
of
dedicated
crimefighting
with
a
new
school
of
state
of
the
art
televisual
language,
including
reconstructions
and
CGI.
Those
with
a
weak
stomach
be
warned,
there
are
grisly
scenes
on
the
mortuary
slab
and
graphic
anatomical
detail,
but
it's
surprising
how
aesthetically
pleasing
an
internal
organ
impacted
by
a
bullet
can
be
on
screen.
CSI
is
TV
eye-­‐candy
at
its
finest,
occasionally
bordering
on
avant
garde
(as
in
the
episode
of
CSI:
Las
Vegas
in
which
a
group
of
corpses
strike
up
a
conversation
in
a
morgue).
Look
out
for
the
real-­‐life
city
backdrops
used
to
phantasmic
effect
–
New
York
is
as
a
Gotham-­‐like,
gritty
dystopia,
Miami
a
high-­‐end,
Versace-­‐styled
beach
paradise
fatally
riven
by
vice,
Vegas
a
mirage
of
glamour
beneath
which
moral
squalor
constantly
lurks.
As
for
the
interior
scenes,
you
do
wonder
if
they
are
on
a
lightbulb
economy
drive
and
the
initial
temptation
might
be
to
reach
for
the
brightness
control.
But
don't
be
fazed
–
this
is
key
to
the
atmosphere,
if
not
exactly
realistic.
Finally,
check
the
admirably
adventurous
soundtrack.
Radiohead,
Mogwai,
Rammstein
and
Antony
&
The
Johnsons
have
all
featured,
adding
a
sombre,
musically
erudite,
high
gloss
to
what
is,
in
essence,
hi-­‐tech
Miss
Marple.
24

25. MS4:
Text,
Industry
&
Audience
Recreating
the
brand
–
the
CSI
spin-­‐offs
–
New
York
and
Miami
Look
at
the
clips
from
both
CSI
Miami
and
CSI
New
York.
Identify
similarities
and
differences
with
the
original
CSI.
Similarities in MES and visuals
Differences
CSI Miami
CSI New York
CSI Las Vegas
25

26. MS4:
Text,
Industry
&
Audience
Marketing
of
CSI
Look
at
the
websites
for
CSI
and
its
spin
offs,
both
the
Channel
5
website
in
the
UK
and
the
official
CBS
site.
Consider
how
the
sites
are
interactive.
Give
examples.
What
makes
the
show
appealing
to
the
target
audiences
(again
give
examples
and
explain
who
you
think
the
target
audience
is).
BARB
viewing
figures
Using
the
BARB
website,
note
down
the
viewing
figures
for
CSI,
series
12
on
Five.
Why
is
this
so
important
to
Five?
Viewing
figures
for
Series
12
–
Episode
1:
1.73
seconds
Episode
2:
Tell-­‐Tale
Hearts
Series
average:
Over
the
course
of
the
series
and
the
22
episodes,
how
many
are
in
the
Five’s
top
ten
for
that
week?
26

27. MS4:
Text,
Industry
&
Audience
Look
at
the
trailers
for
CSI
on
Five,
what
intertextual
references
are
there
relating
to
the
lead
actor,
Ted
Danson?
http://www.channel5.com/shows/csi-­‐crime-­‐scene-­‐investigation/clips/season-­‐12-­‐promo-­‐csi-­‐has-­‐a-­‐new-­‐
guy
Critical
reception
to
CSI:
27

28. MS4:
Text,
Industry
&
Audience
Spin
off
merchandise
In
spring
2008,
Gameloft
and
CBS
released
"CSI:
Crime
Scene
Investigation
–
The
Mobile
Game"
which
is
based
on
the
original
series
in
Las
Vegas,
NV.
This
game
introduces
the
unique
ability
to
receive
calls
during
the
game
to
provide
tips
and
clues
about
crime
scenes
and
evidence.
As
for
the
storyline,
the
game
developers
collaborated
with
Anthony
E.
Zuiker
(the
series
creator)
to
ensure
that
the
plot
and
dialogue
were
aligned
with
the
show's
style.[79]
True
Stories
of
CSI:
The
Real
Crimes
Behind
the
Best
Episodes
of
the
Popular
TV
Show
(published
08/09)
–
Katherine
Ramsland
follows
the
evidence
and
revisits
some
of
the
most
absorbing
episodes
of
the
phenomenally
popular
C.S.I.
television
franchise,
and
explores
the
real-­‐life
crimes
that
inspired
them.
She
also
looks
into
the
authenticity
of
the
forensic
investigations
recreated
for
the
dramatizations,
and
the
painstaking
real-­‐life
forensic
process
employed
in
every
one
of
the
actual
cases—from
notorious
mass-­‐murderer
Richard
Speck,
through
the
massacre
of
Buddhist
monks
in
an
Arizona
Temple,
to
a
baffling
case
of
apparent
spontaneous
combustion.
In
2003,
comic
book
publisher
IDW
Publishing
began
releasing
a
series
of
one-­‐shots
&
miniseries
based
on
all
3
CSI
series,
with
the
majority
being
based
on
the
original
Vegas-­‐based
series.
In
September
2009,
Tokyopop
released
a
manga
version
of
CSI
written
by
Sekou
Hamilton
and
drawn
by
Steven
Cummings.
It
centres
around
five
teenagers
working
at
the
Las
Vegas
Crime
Lab
as
interns
as
they
try
to
solve
a
murder
case
of
a
student
at
their
high
school,
which
leads
to
a
shocking
discovery.
Grissom
and
Catherine
are
seen
now
and
then,
as
well
as
some
of
the
other
CSI
characters.
28

29. MS4:
Text,
Industry
&
Audience
Task:
Go
online
and
search
out
as
many
spin-­‐off
products
and
websites
you
can
–
how
interactive
with
the
audience
has
CSI
become?
29