Suchergebnisse

SLIDESHARE The Wire (HBO 2002-08) is one of the most ever critically acclaimed TV-shows. It transcends the film noir genre by offering a multilayered portrait of the whole city of Baltimore: from police work to drug dealing, getting through stevedores' union corruption, tricks of local politics, problems of the school system and some unethical journalism practices. One key element in the TV-series is the realist style that David Simon and Ed Burns, executive producers, have stamped on The Wire as authorial mark; a realist style that lay the foundations of the social, cultural, and political critique The Wire exhibits. This paper proposes to locate the representational strategies employed by The Wire in three different scopes. On the one hand, we will study the production context of the TV-series, in order to find out how the non-fiction book upon the show is based and the autobiographical background of the creators heighten the realism of The Wire. Secondly, we will analyze the filmic elements that spread the "illusion of truth": use of non-professional actors, stylistic sobriety, and a fragmented and expanded narrative that shows the ambiguity of the real. Finally, the last part of this paper tries to enlighten certain issues intertwined with the notion of realism in The Wire: the constant presence of the city as a moral landscape and the rupture of two American myths: working hard will lead anyone to wealth and America as a place of inclusion.

"The Shield (FX 2002-08) and The Wire (HBO 2002-08) are two of the most critically acclaimed TV-shows ever produced and both share a kinship with certain film noir products. The Wire transcends the cop-show genre by offering a multilayered portrait of the city of Baltimore: from police work to drug dealing, from union corruption to problems of the school system and to unethical journalism practices. On the other hand, The Shield takes the form of a fast-moving cop-show that displays much of the same the moral ambiguity that characterizes the noir genre. Both series adopt complementary realist strategies (a neorealist aesthetic in The Wire; a cinéma-vérité pastiche in The Shield) that give particular narrative significance to city landscapes. Baltimore and Los Angeles are portrayed not only as a dangerous and ruined physical places, but these narratives also raise moral and political issues such as race, class, political corruption, social disintegration, economical disparities, the limitations of the justice system, and the failure of the American dream. The complex and expanded narrative of The Wire and The Shield, as Dimemberg has written about the film noir genre, "remains well attuned to the violently fragmented spaces and times of the late-modern world". Therefore, this paper will focus on how The Wire and The Shield reflect and re-examine several topics related to the city in the film noir tradition: the sociopolitical effects of revealing the scarred landscapes of the centripetal industrial metropolis, the implications of filming in actual localities, the dramatic presence of what Augé termed "no-places", the bachelardian opposition between home and city, or the streets as an urban jungle where danger lurks at every corner."