Broadcast Media & Popular Culture ~ Level 1 Term 1

Television Genre

Assignment 1:
A Detailed Analysis of Vincent with Particular Reference
to Genre, Narrative & Representation

Words 2943

Joanne Lamberti
st06002041
joannelamberti@hotmail.com

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I declare that the work in the following assignment is entirely
my own unless otherwise referenced or clearly stated.

Joanne Lamberti

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This piece examines the use of conventions in relation to ITV’s Vincent with

specific reference to its opening sequence. By analysing the first eight

minutes of the second series in relation to genre, narrative and

representation it may be possible to identify underpinning ideologies within

the text and the genre as a whole.

Primarily aired in 2005 on ITV, Vincent was a major success, with the

second series following in 2006 undertaking the same hour and a half, four

part structure. Shown on Mondays at 9pm, the post watershed scheduling is

an indication into its audio and visual content, which depicts scenes of

murder, conforming to the most common crime explored within the genre but

also highlighting society’s anxieties and concerns about social order. The

main strands of the narrative are concluded at the end of each episode to

allow the audience an element of closure. The continuity of character

interaction however, between Vincent and his colleague, played by Suranne

Jones, allows a lesser important narrative strand to continue across the

episodes. Briefly, it could be said to echo one of the most common

conventions of its genre, as this arrangement can be identified throughout.

In any analysis that contemplates the ideas of genre, it is firstly important

to define the term itself in order to analyse the ways in which the text

being analysed conforms to the named genre’s main concepts and themes.

Traves et al argue that ‘genres are recognizable primarily by content and

contain narrational strategy and organizational structure using similar

themes, motifs, settings, situations and characterizations’2. In this sense,

Vincent could be argued to be particularly conventional of Crime Dramas.

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This is noticeable even through the programmes title as the simple use of

the main characters name is clearly conventional, with well known examples

such as Dalziel and Pascoe, Inspector Morse and A Touch of Frost. Burton

states that ‘titles establish personalities and characters in dramas’3 adding

that ‘the hero is eponymous and the series is defined by the blunt masculine

surname’4. Vincent is however named Vincent Gallagher, and so doesn’t

entirely conform to this idea yet the principle remains the same. This

technique could be argued to work in the favour of both new and old

audiences in the way that it sets up his characters for those unaware and

reiterates it for those who are familiar with him. Audience foreknowledge

of the actor Ray Winstone was vital to the ratings and characterization of

Vincent, as he had previously worked for the BBC in Scum and undertaken a

‘whole raft of hard-man roles’5. Winstone’s hard-man image can be seen

throughout the opening sequence of Vincent, even in as much detail in the

title sequence which includes a single close up shot of him scowling. This is

later reinforced within the establishing shots where he is shown walking

along a busy urban street scowling and looking rather moody.

Not only do the actors themselves give an insight into the forthcoming

narrative but the iconography and symbolism used also connote the themes

and ideologies that will be explored within the programme and Crime genre

itself. This is done by setting up the plot through use of action and enigma

codes. Within the title sequence for example, there is use of a green hue

that gives greater emphasis to the verisimilitude (night time in a city/

urban area). This is reinforced by the use of a shot following around a

central reservation of a main road and also a long shot of a large block of

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flats. Urban scenes depicting mass produced housing of the 70’s and 80’s is

common within Crime genre and could be seen to signify the underbelly of

society or even the idea that Vincent is unique in a world of corruption and

conformity (as is Jane Tennison in Prime Suspect: Last Witness). The urban

location is constantly reinforced throughout the establishing shots

signified with the use of referential signifiers such as cars, buses, a white

van and a lot of background action which isn’t particularly relevant to the

main protagonist.

The narrative is established through the introduction of further characters

within the hotel scene. By withholding information until further on in the

narrative the text conforms to the conventions of Crime Dramas by

introducing the protagonist and establishing the crime. The audience is

firstly presented with a long shot of a female character which enables the

audience to view the location (hotel reception). She is dressed smartly in a

pencil skirt and deep red silk shirt and her body language connotes she is a

confident character, evocative of the early femme fatale. By following with

a long shot of two males immediately zooming into a medium two shot, the

camera codes connote a connection between all three characters. This is

then confirmed with the use of dialogue (which is heavily used within

television Dramas to drive the narrative forward) and interaction. As a

whole, this scene is connotative of action and arouses a query from the

audience due to the enigmas set up. Enigmas are commonly determined

within crime dramas, particularly those based around private detectives as

the narrative is based around mystery. ‘Private detectives are more

importantly predicated on the puzzle’6. This idea is evident within Vincent

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as his character remains seated in the background of the scene in reception

taking a rather hands on, outside of the law approach.

The extent to which he is willing to go to obtain as much information as

possible becomes apparent during shots denoting objects iconographic to

the genre. He quickly calls on a mobile stating “coming your way”, with the

continuity editing allowing the audience to view a male taking photographs.

This is important, as the actions taking place and equipment used are

symbolic of the content of the narrative and more importantly the genre

overall. The hotel worker behind reception is additionally important, as he

takes the typical role of the informant or almost stereotypical Proppian

helper by providing the audience and Vincent with adequate information to

continue to investigate. Even though this is so, the fact that his knowledge

of Vincent was withheld initially would have disturbed the audience in the

sense that they didn’t comprehend it straight away.

The programme maintains its use of conventional techniques with the use of

an office setting shrouded by a pale blue hue which symbolically represents

law and ‘the force’. The files and organised papers are conveniently

juxtaposed with a quantity of alcohol bottles on the windowsill. This is

again predictable however not often so prominent, as it hints at the idea

that the characters aren’t so wholesome but generally have a lot of

personal problems. Dalziel and Pascoe and Messiah are examples of such a

theme, where personal life sometimes interferes with work or, it could be

debated that the effects are visa versa (work interferes with personal

life). By incorporating such themes, the programme maintains an element of

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drama induced realism which is particularly stereotypical of the genre. For

example, the use of a London cab is easily read by audiences that are aware

of the culture and society that the text is built around. The essence of

realism could also be argued to be achieved through the technical (camera)

codes by characters cutting across the shots. During the establishing

scenes and more noticeably inside the prison, people are seen to cut across

the shot, even Vincent when he leaves. It appears more realistic to the

audience, as the body movements look more natural. Nevertheless, this

scene is used to convey further enigma codes with its uncovering of more

details leading to deeper questioning.

Having identified the codes and conventions of the structure of the text, it

is possible to apply Todorov’s formulaic theory of equilibrium could be

applied to its structure in the sense that the opening sequence sets up the

equilibrium and its disruption. Clarke however, enhanced this idea by

stating that in accordance with crime dramas, it becomes ‘crime, chase,

arrest’7. Even though we are unable to identify all three of these stages by

merely viewing eight minutes, there are signifiers denoted constantly that

hint at its compliance. The crime is clearly detected and the chase is

initiated during the shots of Vincent visiting a ‘murderer’ in prison and also

during a discussion with his team of colleagues in an office - both of which

are extremely conventional settings of Crime Dramas. This conventional

opening leads the audience to believe that the rest of the programme will

follow a similar conventional pattern, setting up the expectation of a

resolution.

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The denotation of a prison is commonly used to connote the dominant

ideology that ‘by punishing the criminal, society sustains its convictions

that its legal order is intact’8. The idea that society and justice prevail

could be argued to be the basis of the crime genre however, as in

accordance with Clarke’s ‘arrest’, it is a general acceptance within the

predictable narrative structure that there are certain signifiers enabling

the audience to side with the hero therefore ‘it is the self whose existence

calls for the destruction or defeat or subjection of the enemy’9. Strauss’

binary opposition theory is more often than not employed to define to hero

from the villains and in this case, the private investigator from those who

commit ‘faits divers’ such as ‘jealousies, ambitions, obsessions and

corruption beneath the surface of ordinary society’10. There are arguably

elements of Manichean ideology present within the notions of the hero also,

as he is a white, middle-upper class male. The character somewhat conforms

to Eco’s concepts on heroism, it is viable then, to debate that even though

audiences are said to be free to react to the text, there is clearly a

preferred reading fortified throughout.

The concept of a preferred reading is quite often applied to the idea of

representations within the media as a whole, which perpetuate stereotypical

roles for males or females. Burton states that ‘Representation refers

broadly to the depiction of social groups and institutions’11 yet many believe

that stereotypes derive from repeating certain representations and in turn,

‘ideologies are systems of representation, the one defining the other’12.

The signs and iconography employed within the text are there to connote

certain ideologies to the audience and set up a narrative that is as

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‘realistic’ as possible. Vincent is an example that perpetuates stereotypical

roles, as it is a role that is socially accepted as extremely masculine. The

main protagonist/hero is male, along with the potential villains is commonly

male, as many theorists maintain the female characters are only included to

fulfil an emotional function. ‘The victimisation of the female allows the

hero to display not only chivalry but also emotion’13. Grodal argued this

point in 1988 however it is still very much relevant to the construction of

today’s texts.

Vincent is depicted as a stereotypical detective, following the conventions

applied to the likes of Rebus and Columbo in the way that he is constantly

denoted wearing a suit and long Mac. Vincent’s blue shirt reinforces the

previously mentioned ideology that he is part of the ‘force’ even though he

isn’t a police officer. Blue is symbolically recognised within Western

culture to be representative of the law and is often depicted as part of the

colour scheme on a police badge or uniform as can be seen in M.I.T These

props, such as the tape recorder, are seen to be iconographic to the role,

as they date back to early crime and film Noir. This is palpable in the use

of chiaroscuro lighting, as although there are no blinds shading the office

from daylight, it is still very much shadowed. By displaying both light and

dark in the same scene, there is an implication of a split personality or

split duty. In this case it could be debated that Vincent has a split duty to

both ensure justice and fulfil the requirements of the person he is working

for (the wife of the accused). Echoes of film Noir are also evident within

his forceful, dominant character and in the way that he smokes. Cigars and

cigarettes have become acknowledged as a phallic symbol, directly adhering

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to the dominant rules about masculinity and the patriarchal systems

hegemonic ideologies. Strinati would maintain that the actions taken on by

Vincent are ‘active, aggressive, authoritative and important’ requiring

‘professionalism, efficiency, rationality and strength’14, all characteristics

that are not only common when constructing masculinity as a whole but a

noticeable trait within the genre.

By looking at the opposites constructed (mainly the representations of

femininity and masculinity) throughout the opening sequence, it becomes

even more apparent that the text falls into the category of a ‘Traditional

Crime Drama’ (According to Stewart et al) focussing on the crime in

particular and maintaining the characteristics outlined by Strinati. As

previously discussed, it also quite clearly disseminates the victimization of

women. This is most obviously relevant to the murder victim, as even though

we do not get to know her character properly as an audience, we are told

she was “a good girl, lively and funny” by the receptionist which again, hints

at her femininity as she isn’t mentioned for her skill but purely her

personality, her emotion. The wife of the accused murderer however, plays

an active, enlightening and informative role as a victim, because the

audience are constantly aware of her emotions. Her character is the

epitome of a doting, domestic ‘house wife’ as she states to her husband

during the prison scene that all she wants is to “make babies”. Feminists

would maintain that the character abides by the hierarchical rules of

hegemony set out with regards to femininity. She is seen as quite passive,

being a mere insight into sexuality and domesticity.

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This point could be further discussed with relation to the female hotel

worker Gina, as she is denoted wearing a stereotypical dress with an apron,

signifying she carries out a task that is domestic for instance

chambermaid, waitress, room service attendant. A quiet character,

especially compared to her male counterparts, she is shown to react only

when spoken to. When the male receptionist asked her how she was, she

replied passively “Hi…I’m ok”. Not only indicating the shyness of the

individual, but also indirectly setting her up as another potential murderer,

as her body language is quite shifty. Often described as a ‘Red Herring’,

she is employed as someone unwilling to divulge everything she is aware of

immediately, used to throw the audience off the trial of the real crook.

Beth played by Suranne Jones character could be seen as potentially

liberating for women, (a product of the feminist movement), because she is

denoted as a career woman, able to work alongside Vincent. Even though this

is so, both females are still connoted to be inferior to Vincent in the way

that he throws around orders and they have to represent race and gender

through just two roles. Robert (Joe Absolom) the male character connoted

as second to Vincent is also signified as the brains behind the technology

by attending the house of the accused murderer to set up surveillance and

recording equipment to protect the wife. The variance between male and

female characters is notably apparent in the way that further on in the

programme, Suranne Jones carries out the task of a new chambermaid.

The entire construction of a text is generated to comply with the needs and

demands of its target audience and also to put across the ideologies and

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values of its creator. In this case, ITV produced the piece to appeal to an

older audience. This is understood in the way that the programme begins at

9pm after the watershed and continues to 10.30pm. There is no explicit

violence or shocking scenes straight away however it does push the

boundaries further on. It can be maintained that the text is targeted at a

middle aged audience a majority of which are women, as a survey conducted

by the BBC in 2005 found that the main viewing audience of crime dramas

were females aged thirty plus. The themes explored within Vincent and

programmes such as Spooks and Waking the Dead are said to be current

topics that concern up to date current affairs, which also interest its

target audience. There are also elements of intertextuality, a term

recognised as a component of Postmodernism present within the text, as

Joe Absoloms character Robert jokes “That is your mission should you

choose to take it”1 and is later denoted whistling a theme tune – both

originally taken from Mission Impossible. This would also link into the

notions of audience pleasures, as much of the enjoyment acquired from

crime dramas is often linked into the idea of knowledge and solving the

clues prior to the detective. Intertextuality is only deemed to be relevant

if audiences understand its connection.

In conclusion, it is apparent that the text is highly conformed to the

conventions expected by audiences in that of Crime Genre. Not only does

Vincent comply with general techniques such as the use of iconographic

props, but the settings and character roles are reminiscent of early crime

and film Noir. It employs a formulaic narrative structure by conforming to

the chronological order that many other texts do, and also perpetuates the

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representations of groups and institutions according to the hegemonic

‘norm’. Vincent is a programme that adapts and combines dialogue and

camera work from previous productions to create a somewhat modernised

perspective on Crime Genre and society’s perspective on crime in the world

or today, yet it still maintains ideologies that have been reinforced through

centuries of crime drama within television and cinema.

References

1. Ray Winstone, Charlotte Emmerson, Rupert Frazer, Philip Glenister, Vincent, 2006
ITV.

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 2. Traves et al 1988.

3. Graeme Burton, Talking Television: An Introduction to the study of Television, 1st

Edition, London, UK, Hodder Headline Group, 2000, p. 76.

4. Ibid. p. 131.

5. http://www.bbc.co.uk/drama/faces/ray_winstone.shtml (date accessed 20/11/06).

6. Richard J Sparks, Television and the Drama of Crime: Moral Tales and the Place of
Crime in Public Life, 1st Edition, Buckingham, UK, Open University Press, 1992, p. 138.

7. Graeme Burton, Talking Television: An Introduction to the study of Television, 1st

Edition, London, UK, Hodder Headline Group, 2000, pg. 208.

8. Richard J Sparks, Television and the Drama of Crime: Moral Tales and the Place of
Crime in Public Life, 1st Edition, Buckingham, UK, Open University Press, 1992, p. 99.

9. Ibid. p. 99.

10. Ibid. p. 138.

11. Graeme Burton, Talking Television: An Introduction to the study of Television, 1st
Edition, London, UK, Hodder Headline Group, 2000, p. 23.

12. Ibid. p. 175.

13. Richard J Sparks, Television and the Drama of Crime: Moral Tales and the Place of
Crime in Public Life, 1st Edition, Buckingham, UK, Open University Press, 1992, p. 145.

14. Dominic Strinati, An Introduction to Theories of Popular Culture, 1st Edition,

Routledge, An imprint of Taylor and Francis Books Ltd, p. 180.

Bibliography

•Winstone, Ray, Emmerson, Charlotte, Frazer, Rupert, Glenister, Philip, Vincent, 2006 ITV.

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•Burton, Graeme. Talking Television: An Introduction to the study of Television, 1st Edition,

London, UK, Hodder Headline Group, 2000.

•http://www.bbc.co.uk/drama/faces/ray_winstone.shtml (date accessed 20/11/06)

•Sparks, Richard J, Television and the Drama of Crime: Moral Tales and the Place of Crime

in Public Life, 1st Edition, Buckingham, UK, Open University Press, 1992

•Strinati, Dominic, An Introduction to Theories of Popular Culture, 1st Edition, Routledge, An

imprint of Taylor and Francis Books Ltd

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