Miami Vice (Wiley-Blackwell Series in Film and Television) by James Lyons
By James Lyons
Miami Vice captures the glitter and glamour embodied through Crockett and Tubbs and offers students an anatomy of a ground-breaking paintings within the police procedural style. Explores Miami Vice’s mix of disparate impacts (MTV, movie noir, cleaning soap opera, ‘high idea’ motion movies) in addition to the social, cultural and business moments whilst it burst onto the networkIntroduces readers to significant elements of televisual analysis--style, storytelling, the tv express as commodity and ideological critique-- that illustrate the show’s distinctive featuresProvides a version for college students’ personal evaluation of alternative indicates, and confirms accurately how--and on what terms--Miami Vice redefined the police drama and an period
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Additional info for Miami Vice (Wiley-Blackwell Series in Film and Television)
From the episode’s teaser, which depicts a slide show on the conflict in Northern Ireland by republican Sean Carroon (Liam Neeson), the striking use of emerald green is on show, adorning the room, and coloring Carroon’s attire, and that of Gina Santiago, watching enchanted in the audience in an emerald green jacket. Emerald green is of course associated with Ireland, so the use of it here has a symbolism in keeping with the episode’s theme and tone. Strategically, then, placing this episode at the head of the season enabled the show GUNS, GLITTER, AND GLAMOR: STYLING THE SHOW 51 to announce its new look in a way that was allied to subject matter it could powerfully support.
57 In many ways the most arresting shift in the use of color appears in the final season, and was signaled by the recruiting of Pam Marcotte as the show’s new art director. Marcotte, who had recently completed work on Robert Redford’s film The Milagro Beanfield War (1988), a story of corruption and racial injustice in New Mexico, transferred her eye for the tones, shapes and textures of the Latino-influenced American southwest to Miami Vice. While previous seasons were informed by the cool geometric patterns of Miami’s Art Deco, Streamline Moderne, and Modernist architecture, season five draws on the city’s equally striking range of early twentieth-century Mediterranean revival buildings to introduce rust and terracotta shades, at the same time embracing stucco surfaces and baroque decoration, arches and balconies.
Strategically, then, placing this episode at the head of the season enabled the show GUNS, GLITTER, AND GLAMOR: STYLING THE SHOW 51 to announce its new look in a way that was allied to subject matter it could powerfully support. The colorful diffusion of the new mood is completed in a subsequent scene which introduces Crockett’s and Tubbs’s new look, which comprises an ultramarine jacket for the former and a silvery-blue shirt and tie for the latter, used to help signify that this season the detectives were entering into a deeper and murkier, but no less color-coordinated, world.