Titlebook: American TV Detective Dramas; Serial Investigation Mareike Jenner Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Crime fict

INFER

书目名称American TV Detective Dramas影响因子(影响力)




书目名称American TV Detective Dramas影响因子(影响力)学科排名




书目名称American TV Detective Dramas网络公开度




书目名称American TV Detective Dramas网络公开度学科排名




书目名称American TV Detective Dramas被引频次




书目名称American TV Detective Dramas被引频次学科排名




书目名称American TV Detective Dramas年度引用




书目名称American TV Detective Dramas年度引用学科排名




书目名称American TV Detective Dramas读者反馈




书目名称American TV Detective Dramas读者反馈学科排名

漂浮

Defining Detection: The Detective Genre,scribes all texts that feature crime as a dominant part of the narrative (the gangster genre, the serial killer genre, the cop drama, the heist film, the courtroom drama, etc.). It is treated here as an umbrella term or umbrella genre that accommodates a number of sub-genres, as will be discussed in

PANIC

,Stabilising Detection: Protecting and Serving the Status Quo 1950–68,and a magnifying glass. And though Dick Tracy encounters many action-packed and life-threatening situations during his investigations and the stories are somewhat preposterous, the analysis of clues through science is always emphasised. The series often focusses on technology to analyse clues. Regul

考博

,Diversifying Detection: Proliferation of Channels and Television Cycles 1980–2000,ice force, particularly . and ., with their innovative aesthetics and narrative structure (see Chapter 4). These dramas introduce chaotic diegeses that cannot be ‘ordered’ through rational-scientific police procedure, but necessitate irrational-subjective undercover work or a reliance on coincidence

Fatten

Rethinking Detection: Alternative Methods of Detection,nough to enable a new way of thinking about ways to access and attain ‘truth’. This may bring with it ways of resolving the problem with which the forensic drama cycle is equally concerned with as . and .: what to do when postmodern deconstruction leaves us without a clearly outlined ‘code’. The for

杂色

Conclusion, . and . may be extreme examples of rational-scientific and irrational-subjective methods of detection, they are not ‘merely’ television’s responses to 9/11; both are situated in complex industrial and aesthetic discourses and within a rich genre history. To view Jack Bauer as an heir to the Sam Spa

constitutional

https://doi.org/10.1007/978-3-322-91721-8ith CGI images, and . with its real-time narrative and split-screen aesthetics. . was in its heyday and found itself within the top five in Nielsen ratings for eight seasons (see Kompare 2010, 4), while . anti-hero Jack Bauer (Kiefer Sutherland) took on a prominent role in the public debate on tortu

猛烈责骂

Custodian

Champion

W. Knoth,R. C. Knoth-Born,H. Ranftice force, particularly . and ., with their innovative aesthetics and narrative structure (see Chapter 4). These dramas introduce chaotic diegeses that cannot be ‘ordered’ through rational-scientific police procedure, but necessitate irrational-subjective undercover work or a reliance on coincidence