The Evidence Doesn't Lie: Genre Literacy and the CSI Effect

Harriss, Chandler

doi:10.1080/01956051.2010.489929

Cited by 3 publications

(6 citation statements)

References 5 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…When asked how he had known what they were up to, Michael laughingly responded, "because I've seen the show!" Those accounts suggest the presence of something like the "CSI effect" in which media portrayals of procedures, in this case, secondary market entrepreneurial techniques, affect public perceptions of how they are supposed to be performed (Harriss, 2011).…”

Section: Treasure Hunting At the Jersey Shorementioning

confidence: 99%

Even You can Turn Trash Into Treasure: Reality TV and Secondhand Markets at the Jersey Shore

Leavey

2023

Journalism & Communication Monographs

View full text Add to dashboard Cite

This monograph represents an effort to understand the significance of a subgenre of reality TV (RTV) that I call Trash and Treasure TV (shows about flea markets, auctions, pawn shops, etc.), to people in an area of New Jersey known as the “Jersey Shore.” Trash and Treasure TV programs surfaced from the wake of the Great Recession and were informed by capitalist mentalities articulated through a “masculine” calculating and accumulative voice. In turn, the forms of reproductive labor that occur in homes and communities were subordinated to individualistic, entrepreneurial discourses that suppressed intersubjective and cooperative discourses, which are associated with “the feminine.” In undertaking this effort, I apply a critical media/cultural studies and feminist radical–empiricist approach to textual analysis and ethnographic methods. My research makes visible multiple audiences and reveals a failure of media governmentality and the erasure of reproductive labor, the underemployed, and the working poor from Trash and Treasure TV representations of Recession-era secondhand markets.

show abstract

Section: Treasure Hunting At the Jersey Shorementioning

confidence: 99%

Even You can Turn Trash Into Treasure: Reality TV and Secondhand Markets at the Jersey Shore

Leavey

2023

Journalism & Communication Monographs

View full text Add to dashboard Cite

show abstract

“…Ez teljesen újszerű megközelítést és izgalmas tartalmat jelentett, hiszen az epizódok ugyan a bevált hagyományokra építve, a bűncselekmény elkövetésével kezdődnek és a tettes letartóztatásával végződnek, azonban a tartalom már nem a megszokott nyomozói vagy bírósági munka köré épül, hanem a forenzikus szakértők feladatára fókuszál (Krause, 2010). A törvényszéki laboratóriumok munkája, eredménye ezzel kulcs elemmé vált, és ahogyan Harris fogalmazott, a bizonyíték "…nemcsak önmagáért beszélt, hanem csak igazat beszélt…" (Harris, 2011). Nyilván az erősen idealizált, sőt irreális kép közvetítésével önmagában még nem lenne baj akkor sem, ha a valóság más, és akkor sem, ha a sorozatok videográfiája, képi hatása, effektusai a valóság hamis illúzióját keltik.…”

Section: A Kriminalisztikára Irányuló Média Indukálta Figyelemunclassified

Forensic Sciences Under Siege

Kovács¹

2021

BSZ

View full text Add to dashboard Cite

Az elmúlt két évtizedben a forenzikus tudományokra (krimináltechnikára) világszerte fokozott figyelem irányult, ami az egyes módszerek validitásának, megbízhatóságának és felhasználhatóságának átfogó tanulmányozásán keresztül átfogó reformokat eredményezett. Ebben az időszakban meginduló mélyreható tudományos vizsgálatok, reformfolyamatok időben szorosan egybeesnek a forenzikus tudományokat érintő fokozott társadalmi és média érdeklődéssel, amelyek hátterében teljesen új megközelítésű filmsorozatok álltak. Az elemzett tudományos anyagok, cikkek és bizottsági jelentések a forenzikus módszerek megbízhatóságát vizsgálták. Azt a külföldön már két évtizede zajló élénk tudományos diskurzust, amely sokszor alapjaiban kérdőjelezte meg egyes kriminalisztikai módszerek tudományos megalapozottságát, összefoglalóan úgy jellemezték, hogy a kriminalisztika „ostrom alá került” (Pyrek, 2007). Az elmúlt két évtizedben tudományos jelentések sora hívta fel a figyelmet a forenzikus módszerek gyenge pontjaira, a téves szakvéleményekre alapozott téves ítéletekre, és a megoldásra váró problémákra. Hazánkban mind ez idáig kevés szerző foglalkozott a külföldi szakirodalomban feltárt problémákkal és megoldási javaslatokkal.

show abstract

“…The increased cultural importance of science and technology is most apparent in the American legal system. Scholars and media professionals describe a so‐called “CSI effect” that they argue has altered the informal requirements for successfully trying criminals: “In order to convict accused felons, jurors now expect prosecutors to prove scientific certainty rather than to merely overcome reasonable doubt” (Harriss :4; Patry et al. ).…”

Section: The History Of Forensic Dramamentioning

confidence: 99%

“…According to Harriss, “CSI repeatedly tells viewers that evidence is more truthful than people because it is more open to scientific scrutiny. Science equates to truth and objectivity whereas people are linked directly with dishonesty and bias” (Harriss :4). To the audience, forensic science thus confirms the basic tenet of forensic noir: The only truly trustworthy witness is a dead one.…”

Section: The History Of Forensic Dramamentioning

confidence: 99%

“…The focus on the laboratory allows the forensic‐noir drama to mask its ties to institutions of legal power: “The creators of the program … often tell viewers that the lead characters in the program are not police officers. … [They] attempt to separate their characters from the repressive apparatuses that traditionally mark and define the public detective” (Harriss :6).…”

Section: Forensic Noir: From Characters To Critiquementioning

confidence: 99%

See 1 more Smart Citation

Killer Corn and Capitalist Pigs: Forensic Noir and Television Portrayals of Modern Agricultural Technology

Specht

2013

Culture Agric Food & Envi

View full text Add to dashboard Cite

Forensic noir, a subgenre of the popular television crime drama, presents science as the definitive solution for solving crimes. At the same time, forensic noir programs portray technology used for economic gain-such as that used in modern "industrial agriculture"-as detrimental to the human condition. These warring interpretations of science present an intriguing critique of capitalism from within the capitalist structure of commercial entertainment. In this qualitative study, episodes of two programs, CSI: Miami and Bones, were content-analyzed for characteristics of the forensic-noir category as well as for elements illustrating the dual nature of their anticapitalist critique of science, technology, and modern agriculture. In these episodes, the crimes committed were directly related to intensive production agriculture and the owners and operators of those production facilities vilified for disregarding the human and environmental impacts of their businesses in their quest for profit. The visual imagery depicted agricultural facilities as "crime scenes" and treated agricultural products as evidence. The forensic dramas painted a largely negative portrait of modern production agriculture as exploitative and profit-driven-criticisms often lobbed at television as a medium for cultural production. [television, forensic noir, industrial agriculture, science, capitalism, visual imagery]

show abstract

The Evidence Doesn't Lie: Genre Literacy and the CSI Effect

Cited by 3 publications

References 5 publications

Even You can Turn Trash Into Treasure: Reality TV and Secondhand Markets at the Jersey Shore

Even You can Turn Trash Into Treasure: Reality TV and Secondhand Markets at the Jersey Shore

Forensic Sciences Under Siege

Killer Corn and Capitalist Pigs: Forensic Noir and Television Portrayals of Modern Agricultural Technology

Contact Info

Product

Resources

About