Whoa, what are you still doing here?
Homicide: Life on the Streets began in January of 1993 and can still be seen Friday nights (10pm/9pm) on NBC and in reruns on Lifetime Television. The show is based on David Simon's book Homicide: A Year on the Killing Streets, which chronicled the inner workings of a Baltimore Police Department Homicide squad in 1988. Though it has enjoyed critical acclaim, ratings have continually threatened the shows existance.
The show is known for its 360 camera movements, extensive hand held camera work, and continual violation of the 180 degree and fourth wall rules. Barry Levinson, the executive producer, envisioned these unconventional steps at the shows conception for a new and different look. Arguably, these techniques bring the audience into the story in an almost character-like position.
For my Media Studies project, I looked at three scenes within the December 1997 "Accident" episode and how those scenes followed or broke the traditional rules of cinematography. Beware: These file quite large and may take time to download especially if you don't have an ethernet connection or wicked fast modem.
1. The Prologue - The opening of the show in which John Lange, a Baltimore commuter, falls and becomes trapped between a subway train and platform. The 180 degree rule is broken, but the handheld camera movements are stunning.
2. The Interview - The first interview between Det. Tim Bayliss and a suspect/witness. Notice the 180 degree rule is followed and the editing accents the key ideas.
3. The Meeting - Detectives Pembleton, Bayliss, Lewis and Falsone meet to dicuss the case. The camera weaves in and around the actors with complete disregard for the 180 degree rule.
With that out of the way, you can download my paper and read my brillant insights. Oh, if you are going to plagerize, at least change a few words and send me something out of graditude.
Not only is the camera work mesmerizing, but the CHARACTERS have real depth and uniqueness. If you ignore that UPN trite, this is the only show on free television with a consistently strong "minority" cast. If you don't believe me, read what John Leonard of New York Magazine wrote:
"For the next three weeks [10/20/97, yes 1997], however, what's been implicit all along on Homicide- that the Civil War didn't end at Appomattox- becomes explicit . . . If our Pillsbury Doughboy of a president really wants a conversation in race, he couldn't do much better than to tune in this one [The Blood Ties Episode], which is brillant. The trouble is, the cops are shooting themselves. And they'll have to live with one another afterward, which is why no other series program has had the guts to throw its characters into such a firestorm. It occurs to me that our nation too must live with itself afterward- with the wound whose ragged edges crave to heal but can't."
So, not only does the camera work astound the critics, but the characters do as well. Critical in all this is the outstanding writing.... Here are some sounds to prove it:
3. Never cheat a sicilian
4. I can take a whuppin
5. Please remember your manners
6. A Virtual game of Clue
7. The new and improved Frank Pembleton
8. Treat Munch with respect, not like Montel Williams
9. Everyone loves diversity
10. The every present ringing phone
