The CSI Effect, DNA Discourse, and Popular Crime Dramas*

2016 ◽  
Vol 98 (2) ◽  
pp. 532-547 ◽  
Author(s):  
Gayle Rhineberger-Dunn ◽  
Steven J. Briggs ◽  
Nicole E. Rader
Keyword(s):  
Csi Effect ◽  
Crime Dramas

‘Who is Sir Curtis Seretse?’: A Re evaluation of Black Representation in Sixties British Television

2014 ◽  
Vol 7 (3) ◽  
Author(s):  
Michael Ahmed
Keyword(s):  
The Other ◽  
Prime Time ◽  
Black Representation ◽  
Unique Representation ◽  
Prime Ministers ◽  
Highly Educated ◽  
Crime Dramas ◽  
The Media ◽  
The 1960S ◽  
Head Of Department

This paper re-evaluates the significance of Sir Curtis Seretse, a black character from the 1960s television series Department S (ITV 1969-70) which has largely been ignored. While earlier critical and academic discourse of Department S has primarily centred on the flamboyant Jason King, the importance of Seretse’s character has been overlooked. Seretse, as the head of Department S, is in a position of authority and power over the other (white) characters of the show. Furthermore, he represents a highly educated character that converses on equal terms with Prime Ministers and Presidents, a unique representation of a black character on British television at that time. Seretse’s appearance on prime time television, at a period when black performers in the media were invariably confined to little more than token characters, is therefore worthy of further attention. This paper examines how Seretse represents a different type of black character not previously seen on British television, when compared to the representations of racial problems on other television crime dramas.

The CSI Effect

2017 ◽  
Author(s):  
Jason Chin
Keyword(s):  
Forensic Science ◽  
Burden Of Proof ◽  
High Standard ◽  
Juror Decision Making ◽  
Scholarly Work ◽  
Television Programs ◽  
Forensic Evidence ◽  
Csi Effect ◽  
Real Phenomenon ◽  
Scene Investigation

The CSI Effect posits that exposure to television programs that portray forensic science (e.g., CSI: Crime Scene Investigation) can change the way jurors evaluate forensic evidence. The most commonly researched hypothesis under the CSI Effect suggests that shows like CSI depict an unrealistically high standard of forensic science and thus unreasonably inflate the expectations of jurors. Jurors are thus more likely to vote to acquit, and prosecutors face higher burden of proof. We review (1) the theory behind the CSI Effect, (2) the perception of the effect among legal actors, (3) the academic treatment of the effect, and (4) how courts have dealt with the effect. We demonstrate that while legal actors do see the CSI Effect as a serious issue, there is virtually no empirical evidence suggesting it is a real phenomenon. Moreover, many of the remedies employed by courts may do no more than introduce bias into juror decision making or even trigger the CSI Effect when it would not normally occur (i.e., the self-fulfilling prophesy). We end with suggestions for the proper treatment of the CSI Effect in courts, and directions for future scholarly work.

Constructing Crimes: How the CSI Effect Is Created

2013 ◽  
pp. 145-151
Author(s):  
Stephen Cass ◽  
Kevin R. Grazier ◽  
Bradley Thompson ◽  
Corinne Marrinan
Keyword(s):  
Csi Effect

scholarly journals Screening Affect: Rape Culture and the Digital Interface in The Fall and Top of the Lake

2018 ◽  
Vol 19 (6) ◽  
pp. 569-587 ◽  
Author(s):  
Tanya Horeck
Keyword(s):  
United Kingdom ◽  
New Media ◽  
Digital Media ◽  
Rape Culture ◽  
Crime Drama ◽  
Digital Interface ◽  
Media Technologies ◽  
Feminist Politics ◽  
Crime Dramas ◽  
The Many

Although it often goes unremarked, digital screens are a key point of commonality across the many different transnational renditions of the story of violence against girls and women found in contemporary TV crime drama. The Fall (United Kingdom, 2013–) and Top of the Lake (United Kingdom/Australia/New Zealand/United States, 2013–) are two striking examples of TV crime dramas that frame their self-conscious interrogation of rape culture through digital media. Considering the mutual imbrication of feminist politics and the deployment of new media technologies on these shows, this essay considers how the digital interface functions as a way of mediating viewer response to violence against women. Resisting a reading of digital technologies as either inherently oppressive or inherently liberatory, the essay explores how these TV series navigate the tension between the simultaneous violence of new media and its investigative/feminist/affective potential.

Feminist Themes in Television Crime Dramas

2017 ◽  
Author(s):  
Nancy C. Jurik ◽  
Gray Cavender
Keyword(s):  
Social Justice ◽  
Sexual Orientation ◽  
Real World ◽  
Critical Mass ◽  
Early Years ◽  
Television Programs ◽  
Academic Literature ◽  
Academic Scholarship ◽  
Heterosexual Women ◽  
Crime Dramas

The academic literature notes that male-centered protagonists dominated the crime genre (novels, film, television) for many years. However, beginning in the 1970s, when women began to enter the real world of policing, they also began to appear in the crime genre. Scholars describe how in those early years, women were depicted as just trying to “break in” to the formerly male world of genre protagonists. They experienced antipathy from their peers and superiors, a situation that continued into the 1980s. In the 1990s, television programs like Prime Suspect addressed the continuing antipathy but also demonstrated that the persistence and successes of women protagonists began to change the narrative of the crime genre. Indeed, some scholars noted the emergence of a feminist crime genre in which plot lines were more likely to address issues that concerned women, including issues of social justice that contextualized crimes. Not only was there an abundance of women-centered genre productions, there was a significant increase in academic scholarship about these protagonists. Some scholars argue that once women in the crime genre reached a critical mass, some of their storylines began to change. There was a tendency for women to be seen as less feminist in their career orientations and more like traditional genre protagonists, e.g., brooding, conflicted, and oppressive. Plots abandoned social justice issues in favor of more traditional “whodunits” or police procedural narratives. The same darkness that characterized men in the crime genre could now be applied to women. Some scholars have argued that a few feminist-oriented productions continue to appear. These productions demonstrate a concern not only with gender but also with issues pertaining to race, class, sexual orientation, and age. For the most part, these productions still center on white, heterosexual women, notwithstanding some attention to these larger social matters.

scholarly journals Perceived realism and the CSI-effect

2017 ◽  
Vol 3 (1) ◽  
pp. 1294446
Author(s):  
Logan A. Ewanation ◽  
Susan Yamamoto ◽  
Jordan Monnink ◽  
Evelyn M. Maeder ◽  
Kieran McCartan
Keyword(s):  
Csi Effect ◽  
Perceived Realism
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