Introduction: Surveillance and Terror in Post-9/11 British and American Television

Rives-East, Darcie

doi:10.1007/978-3-030-16900-8_1

Cited by 1 publication

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“…Whereas a wide array of surveillance studies theorize the function and logic of surveillance from delineating negative perspectives, a valuable interrogation of and deeper engagement with the ‘invisibility’ of surveillance in relation to state control in multiple genres, not excluding the political structure of CSI , is still lacking. On a related note, the politics of surveillance has been examined in popular culture (Levin, 2002; Rives-East, 2019), yet not in manners that resonate with contemporary post-9/11 surveillance practices integral to the institutional-level dynamics, disciplinary power, and modern subjectivities. If panopticism is fundamental in the materialization of governance, which elements underpin contemporary forms of post-disciplinary societies, particularly in the forensic spectacle of CSI ?…”

Section: Literature Reviewmentioning

confidence: 99%

Theorizing the forensic gaze and the CSI shot in the multimodal ensemble of CSI: Crime Scene Investigation (2002–2015)

Elyamany

2021

Convergence: The International Journal of Research into New Med

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CSI: Crime Scene Investigation ( (2002–2015) CBS, Alliance Atlantis Communications, CBS Paramount Network Television, Jerry Bruckheimer Television.) marks a paradigm shift in the post-9/11 forensic visual culture, ostensibly presenting physical evidence as a system of surveillance and control; the team of criminalists as ideologically complicit with state power; and high-tech forensic gadgetry as infallible and conducive to the culprit. In the melodramatic narrative strands, sophisticated plotlines, and spectacular performances of forensic science, CSI heavily rests on a novel and meticulously elaborated aesthetics that redefines the conception of gaze and camera shot in the weaving of episodes across the different seasons. A more nuanced comprehension of CSI’s visual forensic discourse is, therefore, necessitated to fully understand the cultural significance of these offerings. To this end, extending the work of Kress and Van Leuween on the systems of gaze and social distance in light of the Foucauldian and post-panoptic views on power and control, the article introduces fine-grained taxonomies of the forensic gaze and camera shot as fundamental aesthetics closely tied to post-9/11 extensive surveillance discourse. Resituating CSI in the broader context of the post-panopticon, the study argues that the drama series operates in a hybrid surveillance mode that surpasses conventional readings of panopticism, straddling the line between the physical and the digital in the contemporary age.

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Section: Literature Reviewmentioning

confidence: 99%

Theorizing the forensic gaze and the CSI shot in the multimodal ensemble of CSI: Crime Scene Investigation (2002–2015)

Elyamany

2021

Convergence: The International Journal of Research into New Med

View full text Add to dashboard Cite

show abstract

Introduction: Surveillance and Terror in Post-9/11 British and American Television

Cited by 1 publication

References 39 publications

Theorizing the forensic gaze and the CSI shot in the multimodal ensemble of CSI: Crime Scene Investigation (2002–2015)

Theorizing the forensic gaze and the CSI shot in the multimodal ensemble of CSI: Crime Scene Investigation (2002–2015)

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