Gotowe bibliografie tematyczne / CSI, crime scene investigation on television

Gotowa bibliografia na temat „CSI, crime scene investigation on television”

Autor: Grafiati

Data publikacji: 27 lipca 2024

Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "CSI, crime scene investigation on television"

Lam, Anita. "Televisual waiting: Images of time and waiting in CSI". Time & Society 27, nr 3 (30.09.2015): 275–94. http://dx.doi.org/10.1177/0961463x15604517.

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As a massively popular crime drama, Crime Scene Investigation has circulated influential images and narratives that suggest that the processing and analysis of forensic evidence can be done in a swift and timely manner. The claim of such a CSI effect is based on the relative absence of waiting scenes within the series. This article examines the series’ multiple representations of time and waiting, linking the absence of waiting to the construction of forensic scientists as powerful figures of moral authority. In the episode Grave Danger, however, waiting is notably imagined as something that must be experienced and endured as a result of conviction. It is made analogous to death, and embodied through horizontality as well as by feminized waiters. Because the feminization of waiters also characterizes the representation of television viewers, I end by examining how the role of waiting in Crime Scene Investigation is intertwined with the viewer’s experience of watching the planned flow of network television. Ultimately, this article argues that the study of televisual waiting requires a recognition that images and narratives on network television emerge out of and depend on waiting as representation, experience, and performance.

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Angeline, Mia. "Crime As Entertainment or Entertainment as A Crime?" Humaniora 2, nr 2 (31.10.2011): 1025. http://dx.doi.org/10.21512/humaniora.v2i2.3151.

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Article presents one part of pop culture is crime portrayed as entertainment in television shows. Television has the means of information and entertainment, resulting in the shift of crime shows, initially crime was portrayed in the news but due to the high popularity, it becomes part of the entertainment as well. In terms of information, the most famous of crime drama show is Crime Scene Investigation (CSI), and this show gave effect known as the CSI effect, which is people have more appreciation to scientific evidences and DNA testing in trials. On the other hand, with so many shows involving crime resulting in cultivation impact, which is accumulation and the formation of perception of reality. People who are more exposed to this crime show will form the same perception as the one depicted by television and resulted to changes in their behavior. Several proposals to reduce this negative effects are audience learning, the use of rating system and electronic key in television set.

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Frermann, Lea, Shay B. Cohen i Mirella Lapata. "Whodunnit? Crime Drama as a Case for Natural Language Understanding". Transactions of the Association for Computational Linguistics 6 (grudzień 2018): 1–15. http://dx.doi.org/10.1162/tacl_a_00001.

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In this paper we argue that crime drama exemplified in television programs such as CSI: Crime Scene Investigation is an ideal testbed for approximating real-world natural language understanding and the complex inferences associated with it. We propose to treat crime drama as a new inference task, capitalizing on the fact that each episode poses the same basic question (i.e., who committed the crime) and naturally provides the answer when the perpetrator is revealed. We develop a new dataset based on CSI episodes, formalize perpetrator identification as a sequence labeling problem, and develop an LSTM-based model which learns from multi-modal data. Experimental results show that an incremental inference strategy is key to making accurate guesses as well as learning from representations fusing textual, visual, and acoustic input.

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Schroeder, Kenneth R., i Janet E. Schroeder. "CSI Manhattan: Using the Theme of a Popular Television Series to Enhance Student Learning Beyond the Lecture Hall". HortScience 40, nr 4 (lipiec 2005): 1138E—1139. http://dx.doi.org/10.21273/hortsci.40.4.1138e.

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According to brain-based learning theory, learning is enhanced by challenge and inhibited by threat. Effective learning occurs when students are immersed in the educational experience, challenged yet not threatened, and encouraged to actively process information. All of these components are part of simulation or role-play games. With these basic concepts in mind, we approached the challenge of enhancing student learning in a plant identification course taught in a large class setting. Considering that plant identification requires some basic detective skills, and the popularity of criminal investigation television programming, we designed a role-play exercise involving case files, investigation zones, and detective teams. As a spin-off from the television shows “CSI: Crime Scene Investigation” and “CSI: Miami,” the exercise was coined “CSI: Manhattan, Conifer Site Investigation in Manhattan, Kansas.” It was designed to fit into a 50-minute class period. Throughout the exercise, detective teams (students) needed to collectively locate and identify plants based on previous knowledge and clues within the case files and at the sites. Upon completion, plant specimens were checked in and identification logs discussed in order to provide immediate feedback and reinforcement of learning. Students enjoyed the exercise, offering positive feedback and conversations about the exercise throughout the balance of the semester. Six months later, while walking past one of the investigation sites, students remembered the site, exercises performed, and the plant name. The exercise includes both interactive and experiential learning components. This session will discuss the “CSI” exercise and its value in linking action to information.

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Oliveira, Cristina Santana. "A transgressão do personagem detetive nas séries televisivas “elementary” e “csi - crime scene investigation”". Revista do GELNE 19, nr 2 (7.07.2017): 78. http://dx.doi.org/10.21680/1517-7874.2017v19n2id11418.

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Presenciamos um crescente interesse em torno das séries de televisão, em especial as norte-americanas que atingem múltiplos mercados e têm, em sua retaguarda, uma experiência cinematográfica de sucesso. Consolida-se um acervo de pesquisas que relaciona essas séries às narrativas literárias - caso do detetive Sherlock Holmes de Arthur Donan Coyle. Procuraremos analisar como grandes produtores de Hollywood e as novas tecnologias revitalizam esse personagem criando possibilidades de manutenção e incentivo a novos leitores para o gênero policial. A breve reflexão sobre os gêneros de discurso (Bakhtin e Todorov) demonstra que sua maleabilidade pode trazer novos olhares para esse segmento literário, movimentar o cenário editorial, televisivo-cinematográfico e acadêmico.

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Gemzøe, Lynge Stegger. "Language, European identity and stereotypical diversity in trans-European crime dramas". Journal of European Popular Culture 12, nr 2 (1.10.2021): 135–47. http://dx.doi.org/10.1386/jepc_00034_1.

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Interrogating two transnational television dramas – Crossing Lines (2013, 2014, 2015, the first season) and The Team (2015, 2018, the second season) – and employing critical, textual and production perspectives, this article investigates representations of national and European identity in the series. In this article, I argue that the series on the one hand picture a diverse Europe uniting when challenges arise, embodying the dominant European narrative of ‘unity in diversity’ and, seen from a certain point of view, facilitate a mediated cultural encounter. On the other hand, the diversity depicted is based on the use of a wide range of well-known cultural stereotypes that may be familiar to the audience, and which may facilitate smooth storytelling, but that does little to broaden the actual cultural knowledge and understanding of the viewer, resulting in stereotypical diversity. The series have different strategies regarding representations of nation states, cultures and languages. The implications of these strategies are analysed. Common ground is often found in ‘American’ crime drama genre tropes associated with a team of often-antagonistic specialists who are put together to solve a problem, including such iconic US series as The A-Team (1983–87), the CSI: Crime Scene Investigation franchise (2000–15) and Scorpion (2014, 2015, 2016, 2017). The contribution ultimately finds that meaningful mediated cultural encounters are a challenge to transnational television drama, and that when it comes to television, ‘European’ and ‘transnational’ means little without ‘national’.

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Hui, Cora Y. T., i T. Wing Lo. "Examination of the “CSI Effect” on Perceptions of Scientific and Testimonial Evidence in a Hong Kong Chinese Sample". International Journal of Offender Therapy and Comparative Criminology 61, nr 7 (20.10.2015): 819–33. http://dx.doi.org/10.1177/0306624x15611874.

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Television is a powerful medium through which to convey information and messages to the public. The recent proliferation of forensic science and criminal justice information throughout all forms of media, coupled with raised expectations toward forensic evidence, has led some to suspect that a “CSI effect” ( Crime Scene Investigation effect) is taking place. The present study contributes to the literature addressing the CSI effect in two ways. First, it examines whether the CSI effect exists in the Chinese population of Hong Kong. Second, using a mock-jury paradigm, it empirically examines a more integrative perspective of the CSI effect. It was found that, although the amount of media coverage involving forensic evidence does influence participants’ perception of legal evidence to some degree, such a perception does not affect participants’ legal decision making. Viewers of forensic dramas were not more likely to convict the defendant when forensic evidence was presented and not less likely to convict when only testimonial evidence was presented. The only significant predictor of the defendant’s culpability when scientific evidence was presented was participants’ ratings of the reliability of scientific evidence. Results from the present study lend no support to the existence of the CSI effect in Hong Kong.

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Tous-Rovirosa, Anna. "PaleoTV, NeoTV and MetaTV in US Drama Series". Comunicar 17, nr 33 (1.10.2009): 175–83. http://dx.doi.org/10.3916/c33-2009-03-009.

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This paper analyses the paleoTV, neoTV and metaTV features in three US drama series belonging to drama series genres and adventure subgenres: adventures («Lost»), crime («CSI: Crime Scene Investigation») and politics («The West Wing»). The aim of the research is to study these TV series in relation to the three eras which divide the short history of TV up to today, to determine the features that define this media in serial fiction and its relation to its own diachronic moment. The methodology of this work is based on the concepts of several scholars and makes references to other US fiction series. It emphasizes the autoreferenciality and intertextuality as some of metaTV’s most important features. Este artículo analiza las características paleotelevisivas, neotelevisivas y metatelevisivas de las series de ficción estadounidenses contemporáneas pertenecientes al género dramático y a los subgéneros de aventuras («Perdidos»), policíaco («CSI: Las Vegas») y político («El ala oeste de la Casa Blanca»). El objeto de la investigación consiste en estudiar dichas series televisivas estadounidenses dramáticas en relación a las tres eras que dividen la breve historia de la televisión hasta la actualidad, con la finalidad de detectar las características definitorias del medio en la serialidad de ficción y su relación con su propia diacronía. La metodología parte de los conceptos teóricos trabajados por varios estudiosos. Se destacan la autorreferencialidad y la intertextualidad como algunas de las características metatelevisivas predominantes, y se analiza la transmisión ideológica en dichas series.

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Hills, Matt, David Lavery, Kim Akass, Steven Peacock, Diane Negra, Rhonda V. Wilcox, Elke Weissmann i in. "Reviews: The League of Gentlemen, Star Trek, Seinfeld, CSI: Crime Scene Investigation, Reading Lost: Perspectives on a Hit Television Show, Investigating Firefly and Serenity: Science Fiction on the Frontier, Sex and the City, Angel, Masculinity and Popular Television, The Age of Oprah: Cultural Icon for the Neoliberal Era, Seers, Witches and Psychics on Screen: An Analysis of Women Visionary Characters in Recent Television and Film, Entertaining Television: The BBC and Popular Television Culture in the 1950s, the Quiz Show, Television and Criticism, the Age of Television: Experiences and Theories". Critical Studies in Television: The International Journal of Television Studies 4, nr 2 (wrzesień 2009): 120–52. http://dx.doi.org/10.7227/cst.4.2.9.

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van Bruggen, Ariena H. C., i Isolde M. Francis. "Case Investigation and Forensic Evidence for a New Plant Disease: The Case of Lettuce Corky Root". Plant Disease 99, nr 3 (marzec 2015): 300–309. http://dx.doi.org/10.1094/pdis-09-14-0953-fe.

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The process of disease diagnosis reminds of the process of solving a crime. This starts with a so-called ‘crime scene investigation’ (CSI) carried out in a highly systematic manner. The CSI is followed by ‘forensic investigation’ in specialized laboratories. The final step in solving a crime is the ‘crime scene reconstruction’ process, which involves systematic elimination of unlikely scenarios and comparison of results from the analysis of physical evidence with eye witness accounts. If more evidence becomes available, an ‘old case may be reactivated’. In this review, the same sequence of activities is followed to solve a plant disease problem using a case study of a disease that was difficult to diagnose, namely the ‘case’ of corky root of lettuce.

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Rozprawy doktorskie na temat "CSI, crime scene investigation on television"

Bull, Sofia. "A Post-genomic Forensic Crime Drama : CSI: Crime Scene Investigation as Cultural Forum on Science". Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-81474.

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This thesis examines how the first 10 seasons of CSI: Crime Scene Investigation (CBS, 2000–) engage with discourses on science. Investigating CSI’s representation of scientific practices and knowledge, it explicitly attempts to look beyond the generic assumption that forensic crime dramas simply ‘celebrate’ science. The material is analysed at three different levels, studying CSI’s wider cultural discursive context, genre linkages, and audio-visual form. In order to fully account for the series’ specificity, the thesis undertakes comparative analyses of earlier forensic crime dramas and other relevant audio-visual material. Close textual readings of certain thematic tropes, narrative devices and visual imagery in CSI are thus supplemented by historical studies of their extended generic backgrounds. This textual-historical approach generates a general argument that CSI dramatizes and evokes a number of different, and often contradictory, scientific ideas, perspectives and discursive shifts. The thesis concludes that CSI stages a transnational cultural forum, simultaneously engaging with residual, dominant and emergent discourses on science. Throughout, close attention is paid to the multiple perspectives and viewpoints that allow the series to appeal to a wide and heterogeneous global audience. Furthermore, the thesis asserts that CSI specifically articulates a post-genomic structure of feeling, which begins to express the wider cultural implications of an emergent discursive shift whereby the instrumentalisation of molecular science seemingly offers more possibilities for human intervention into biological processes. Thus, the study demonstrates how CSI’s discourse on science treats recent scientific developments as engendering a cultural process of redefinition, questioning foundational concepts such as truth, identity, body, kinship and emotions.

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Strömstedt, Isabelle. ""How do you know all this crap?" : The Representation of Cognitive Processes and Knowledge in CSI: Crime Scene Investigation and Sherlock". Thesis, Linköpings universitet, Institutionen för studier av samhällsutveckling och kultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-122771.

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In contemporary crime drama there has been a shift of main character from the forensic scientist to the consultant. This put the representation of knowledge in a different light. In this study the focus is on how, and what kind of cognitive processes and knowledge are represented in two crime dramas with consultants as main characters; CSI: Crime Scene Investigation and Sherlock. Basing the analysis on concepts of cognitive processes and knowledge, it becomes evident that due to the shift in main character the representation of knowledge also has changed; from an institutionalized and science based view on knowledge to the legitimization of a personal, uncritical and fast way of gathering knowledge.

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McManus, Sarah E. "Influence of the CSI effect on education and mass media". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4595.

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Forensic science television shows, especially CSI: Crime Scene Investigation, have been said to influence the public's perception of how forensic science is used and create interest in studying forensic science and pursuing jobs in the field. This study investigates this claim through a variety of methods. First, definitions of the CSI effect are discussed, including how it was first used and mentioned in the media. Second, survey data from students in a forensic anthropology course regarding interest in forensic science media and educational and career choices are analyzed. Third, the number and debut dates of forensic science non-fiction books, novels, non-fiction television shows, and television dramas are investigated. Finally, a content analysis of the television show Bones is undertaken in order to understand how the forensic anthropology presented in this show differs from the actual practice of forensic anthropology. Results of this study indicate that, overall, students who wanted to pursue forensic science careers and graduate study did not watch more forensic science television shows and read more forensic science novels than those who did not want to pursue forensic science careers and graduate study. Also, based on the decreased interest in a number of forensic careers, it appears that respondents may have started the course with false perceptions regarding the actual job descriptions of these careers. Regarding the number and debut dates of forensic science media, this study found that the majority of non-fiction forensic anthropology books, non-fiction television shows, television dramas debuted after CSI appeared, corroborating the claim that CSI led to an increase in interest in forensic anthropology. In addition, this study found that while much of Bones is fictionalized for entertainment purposes, many of the techniques and analyses presented on the show have a peripheral basis in scientific methods.
ID: 029094425; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2010.; Includes bibliographical references (p. 129-130).
M.A.
Masters
Department of Anthropology
Sciences

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Cama, Mariana Pimenta. "O crime espetáculo na tela: entre a realidade e a ficção". Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5267.

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Made available in DSpace on 2016-04-26T18:18:19Z (GMT). No. of bitstreams: 1 Mariana Pimenta Cama.pdf: 1094285 bytes, checksum: feaea7b876b6d9926947835492557d27 (MD5) Previous issue date: 2009-10-23
The current research intends to reflect in a critical manner about the ways of representation of criminality on audiovisual media, especially on television. The target of this analysis is to point out media processes that highlight and exemplify the way crime is turned into a spectacle, reconfiguring narrative formats of police drama and news currently active. When it comes down to representing images of violence and criminality, the audiovisual media culture has been showing two main slopes: the news that incorporates construction elements typical of soup operas, and the fictional program that intends realism, showing the routine of police in action in big urban areas. Under the eye of speculation promoted by news media, two cases will be analyzed, which took place in 2008: the case of Isabella Nardoni and the young girl Eloá Pimentel, exhaustingly reproduced and detailed on the internet. In the thin line of the crime-spectacle in the universe of fiction, we ll analyze the narrative of TV series CSI: Crime Scene Investigation, highlighting the episodes "Grave Danger" and "Monster in a box". From the methodic point of view, the research bases itself on the audiovisual analysis provided for television and in its versions for Internet and DVD, willing to investigate the connection between the subject in question and the visible object, interpreting the spectator as a morbid voyeur. From the theoretical point of view, the research lays on "real shock" concept by Beatriz Jaguaribe, on the hypothesis of intimacy spectacle by Paula Sibilia, presented on O Show do Eu: a intimidade como espetáculo", and on the "A Sociedade do Espetáculo" by Guy Debord. The arguments concerning the News are anchored by work of Eugênio Bucci and Maria Rita Kehl, "Videologias". The reflexion regarding the spectator with violent images is based on the work by Susan Sontag, "Diante da dor dos outros", and on the works of Arlindo Machado, "A Televisão levada a Sério" and "O Sujeito na Tela". In the end, it is concluded that the persistent shocking images that infest the many diverse ways of informational communication operate through contagious systems, which lead to dramatization elements of the journalism of the real for the fictional and spectacle of crime for the News universe, on television and internet
A presente pesquisa pretende refletir de forma crítica sobre os modos de representação da criminalidade nas mídias audiovisuais, em especial na mídia televisiva. O objetivo da análise é apontar processos midiáticos que evidenciem e exemplifiquem o modo como o crime é transformado em espetáculo, reconfigurando os formatos narrativos de dramas policiais e do telejornalismo vigentes. A cultura das mídias audiovisuais, no que diz respeito à representação das imagens de violência e criminalidade, vem demonstrando duas vertentes predominantes: o telejornalismo que incorpora elementos de construção típicos das telenovelas e a programação ficcional que se pretende realista, retratando o cotidiano da polícia em ação nos grandes centros urbanos. Sob a ótica da espetacularização promovida pela mídia jornalística, serão analisados dois crimes ocorridos no ano de 2008: o caso da menina Isabella Nardoni e o da jovem Eloá Pimentel, fartamente reproduzidos e detalhados na internet. No que tange ao crime-espetáculo no universo da ficção, analisaremos a narrativa seriada televisiva CSI:Crime Scene Investigation, com destaque para os episódios "Grave danger" e "Monster in a box . Do ponto de vista metodológico, a pesquisa baseia-se na análise dos audiovisuais concebidos para televisão e em suas versões para internet e DVD, a fim de investigar a relação entre o sujeito vidente e o objeto visível, entendendo o espectador como voyeur-mórbido. Do ponto de vista teórico, a pesquisa apoia-se no conceito de "choque do real" de Beatriz Jaguaribe, na hipótese de espetacularização da intimidade de Paula Sibilia, apresentada em O show do eu: a intimidade como espetáculo" e na obra "A sociedade do espetáculo" de Guy Debord. As discussões sobre telejornalismo são ancoradas na obra de Eugênio Bucci e Maria Rita Kehl, "Videologias". A reflexão sobre a relação do espectador com as imagens de violência baseia-se na obra de Susan Sontag, "Diante da dor dos outros", e nas obras de Arlindo Machado, "A televisão levada a sério" e "O sujeito na tela". Ao final, conclui-se que as insistentes imagens de choque e violência que assolam os mais diversos meios informacionais de comunicação operam por sistemas de contágio, que levam elementos da dramatização do real do telejornalismo para o universo ficcional e de espetacularização do crime para o universo do telejornal, na televisão e internet

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Fish, Jacqueline T., Larry S. Miller, Michael C. Braswell i Edward W. Jr Wallace. "Crime Scene Investigation". Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1455775401.

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Crime Scene Investigation offers an innovative approach to learning about crime scene investigation, taking the reader from the first response on the crime scene to documenting crime scene evidence and preparing evidence for courtroom presentation. It includes topics not normally covered in other texts, such as forensic anthropology and pathology, arson and explosives, and the electronic crime scene. Numerous photographs and illustrations complement text material, and a chapter-by-chapter fictional narrative also provides the reader with a qualitative dimension of the crime scene experience.
https://dc.etsu.edu/etsu_books/1085/thumbnail.jpg

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Bull, Sofia. "Kroppen, sanningen och döden : En utredning av CSI: Crime Scene Investigation". Thesis, Stockholm University, Department of Cinema Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-897.

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Uppsatsens syfte är att undersöka vilken funktion och betydelse kroppen har i första säsongen av CSI: Crime Scenen Investigation (CBS, 2000-). Detta eftersom det kan ge en ökad förståelse för de föreställningar som omgärdar kroppen i vår kultur idag. Författaren gör närläsningar av analysobjektet som relateras till relevant litteratur, såväl som tidigare praktiker och representationer av kroppslighet.

I den första delen undersöker författaren vilken roll kroppen spelar i utredningsarbetets sökande efter en säker sanning. Författaren konstaterar att utredarna använder sig av en kroppslig utredningsteknik och att kroppen dessutom ses som en privilegierad form av bevis, vars tillgänglighet ökar med hjälp av obduktionsförfarandet och olika teknologiska hjälpmedel. Vidare ifrågasätter författaren hur långsökta slutsatser om individen dras från kroppen. Till sist föreslår författaren att tron på säker kunskap känns betryggande i en tid då kroppen ses som föränderlig och där begrepp som verklighet och sanning blivit flytande.

I den andra delen undersöker författaren hotfull kroppslighet och hur dessa hot eventuellt neutraliseras. Författaren drar här fyra huvudsakliga slutsatser:

1. Den uppstyckade kroppen är skrämmande eftersom den uppfattas som gränsöverskridande och utredarnas ihopsamlande av kroppsdelar är ett sätt att återskapa de ursprungliga gränserna.

2. Döden är ytterligare en gränsöverskridande praktik som dessutom innebär kroppens totala förintelse, utredningsarbetet är en kamp mot döden som strävar efter att återupprätta livet.

3. Utredarnas förhållande till den döda kroppen är synnerligen komplext eftersom de bör förbli objektiva, men samtidigt inte får riskera att objektifiera den döda kroppen.

4. Själva filmmediet kan ses som ett hot mot kroppen genom sitt fragmenterande bildspråk, men också som ett försvar mot döden genom förmågan att skildra rörelse.

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Monnet-Cantagrel, Hélène. "Les Séries télévisées du format aux franchises. Pratique et esthétique des dramas américains de prime-time, créés entre 1996 et 2006". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA173.

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Les séries télévisées de fiction suscitent depuis quelques années un intérêt sans précédent dans leur histoire, qui amène à s’interroger sur le sens pris par cette forme de fiction. Mais, à cette question de la signification de l’objet, s’ajoute celle de la méthode permettant d’y répondre. Récits, fictions, les séries sont aussi des produits commerciaux et industriels et, de ce fait, fortement déterminées par leurs contextes de production et de réception.Depuis 1996 et la dérégulation des télécommunications aux Etats-Unis, le paysage médiatique et le marché télévisuel, américains puis internationaux, ont connu d’importants bouleversements économiques et technologiques dont une des conséquences a été l’adoption de stratégies d’expansion et de branding des programmes, qui prennent un tour inédit et auxquelles les séries n’échappent pas.Adaptées, dérivées, reprises, les séries, notamment dramatiques, se franchisent, faisant apparaître alors ce qui constitue une spécificité de la création sérielle, le format. Forme minimale de la fiction, le format consiste en une présentation écrite qui en fixe les constituants fondamentaux permettant non seulement sa sérialisation mais aussi sa distribution.A partir de formats et de franchises de séries dramatiques américaines de la décennie initiée à 1996, cette thèse se propose d’examiner en quoi le format pourrait contribuer à enrichir l’étude des séries télévisées dans une perspective autant théorique qu’interprétative
Since the beginning of the 2000s, television series arouse an unheard-of interest in their history, which brings to question the sense of this kind of fiction. But, in this issue of the meaning of the object, is also the one of the method to answer it.Narratives and fictions, series are also commercial and industrial products and, therefore, strongly determined by their contexts of production and reception. Since 1996 and the deregulation of telecommunications in the United States, american then international media landscapes and markets have known important economic and technological upheavals which led to new strategies of expansion and branding of the programs, in an unprecedented tourAdapted, spun off, remade, dramatic series lead to franchises, revealing then what establishes a specificity of the serial creation : the format. The television format is a written presentation which sets the fundamental core of the fiction, allowing not only serialization but also its distribution.Studying formats and franchises of American dramatic series of the decade introduced in 1996, this thesis examines how the television format could contribute to enrich the study of television series in a theoretical as well as in an interpretative objective

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Ammar, Farah N. "The "CSI effect" on jurors, criminals and the American court system". Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1057.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Health and Public Affairs
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Prévost-Levac, Line. "Modalités de la transgression dans les récits de Fan Fiction de séries policières contemporaines". Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/25976/25976.pdf.

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Larouche, Peggy. "Le boulevard des allongés : la représentation de la morgue au cinéma et dans les autres arts". Thèse, 2008. http://hdl.handle.net/1866/7366.

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal
Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

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Książki na temat "CSI, crime scene investigation on television"

Flaherty, Mike. CSI: crime scene investigation. New York: Pocket Books, 2004.

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Cox, Greg. CSI: Crime scene investigation : shock treatment : a novel. New York: Pocket Star Books, 2010.

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Salvoldi, Alessandra. Anatomia di CSI: Echi letterari e culturali di un fenomeno televisivo. Roma: Bel-Ami edizioni, 2015.

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Ramsland, Katherine M. Forensic Science of C. S. I. New York: Penguin USA, Inc., 2009.

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Ramsland, Katherine M. The forensic science of C.S.I. New York: Berkley Boulevard Books, 2001.

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Donn, Cortez, i Wilson Leah, red. Investigating CSI: Inside the crime labs of Las Vegas, Miami, and New York. Dallas, TX: BenBella Books, 2006.

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Claggett, Kara J. The CSI effect: How does television distort forensic science in criminal investigations? [San Diego, California]: National University, 2013.

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Foster, Valerie Jacklynn. How to get away with murder: The influence of the CSI effect on homicide investigations. [San Diego, California]: National University, 2018.

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Ramsland, Katherine M. True stories of C.S.I.: The real crimes behind the best episodes of the popular TV show. New York: Berkley Boulevard, 2008.

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Ramsland, Katherine M. True stories of C.S.I.: The real crimes behind the best episodes of the popular TV show. New York: Berkley Boulevard, 2008.

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Części książek na temat "CSI, crime scene investigation on television"

Cohan, Steven. "The CSI Effect". W CSI: Crime Scene Investigation, 23–39. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92253-6_3.

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Cohan, Steven. "The CSI Style". W CSI: Crime Scene Investigation, 50–69. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92253-6_5.

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Cohan, Steven. "Introduction". W CSI: Crime Scene Investigation, 1–6. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92253-6_1.

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Cohan, Steven. "Afterword". W CSI: Crime Scene Investigation, 140–44. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92253-6_10.

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Cohan, Steven. "It’s All about the Evidence". W CSI: Crime Scene Investigation, 7–22. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92253-6_2.

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Cohan, Steven. "The Blue Paint Killer". W CSI: Crime Scene Investigation, 40–49. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92253-6_4.

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Cohan, Steven. "Looking at Science". W CSI: Crime Scene Investigation, 70–89. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92253-6_6.

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Cohan, Steven. "Old and New Vegas". W CSI: Crime Scene Investigation, 90–104. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92253-6_7.

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Cohan, Steven. "What Happens in Vegas". W CSI: Crime Scene Investigation, 105–21. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92253-6_8.

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Cohan, Steven. "Who Are You?" W CSI: Crime Scene Investigation, 122–39. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92253-6_9.

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Streszczenia konferencji na temat "CSI, crime scene investigation on television"

Andrita, Marius, Georgica Panfil i Adrian Iacob. "THE EFFECT OF CSI MOVIES AND GAMES OVER THE PERCEPTION OF STUDENTS RELATED TO THE NEED OF THE USE OF MODERN TECHNOLOGIES IN TRAINING FORENSIC SCIENTISTS". W eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-019.

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Current paper tackles the perception of the students to be trained within the area of Forensic Science - from Romanian Police Academy - related to the impact of the information transmitted thru games and Crime Scene Investigation movie series. It is well known that such game and movie series received a positive impact from the public, and furthermore some of their target public were also highly attracted by the idea of becoming forensic scientists or, at least, to gain some basic knowledge related to this domain. On the other hand, those moves and games were presenting a distorted reality related to the actual possibilities of work in the field of forensic science. As such, the authors of present paper have evaluated the possibility to assess the psychological impact that such information had over the students trained within the area of forensic science from the point of view of motivation, desire to adapt to real possibilities of work, the need to implement modern technologies of work and learn, the usefulness of such technologies and other similar question. The target groups of present study were chosen from students from first, second and third year of study from Romanian Police Academy - considering the reality that the students from first year of studies might be willing to become forensic scientists based on the perception of a potentially distorted image related to the domain, while the ones from the second year of studies have already studied the domain (at an initial stage), and the ones from the third year are at the end of their studies. The main research method is the questionnaire method.

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