Film noir reflects the fatalistic themes and visual style of hard-boiled novelists and many émigré filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. In The Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as The Maltese Falcon, Kiss Me Deadly, and The Big Sleep is also found in episodic television from the mid-1950s to the present.

CSI is set in Las Vegas, a city represented as catering to extremes of selfinterest and desire. Las Vegas instantiates the noir trope of the corrupt city. It is the sort of place where even some of those charged with upholding the law have selfish motives. For instance, the sheriff is concerned only about the optics of a crime and how they might affect his career, not about justice (“Table Stakes”). CSI makes it appear as though Las Vegas is a city where everything is possible and, nearly everyone, whether citizen or tourist, with the money to finance it or the will to achieve it, seems to be pursuing his or her own ends, often by whatever means necessary. Many prominent citizens—for example, the owners of the casinos and even some of the most successful former showgirls—are rich and powerful. At the same time, most tourists can operate anonymously and thus do nearly anything they want without drawing attention to themselves unless they commit a crime. The city is driven by commerce and in particular by the casinos, which both encourage and reflect avarice, desire, and the quest for pleasure. In CSI, we find the reworking of a theme that has clearly been established in the genre of the Western. There, the community is considered metaphorically as a garden in the desert, holding out the mythic ideal of a society where law and justice have been established to replace lawlessness and arbitrary violence. In CSI, on the other hand, the city is concrete and glass and neon, so it is easy to conclude that the ideal of the garden has been compromised by commerce and human avarice.

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@темы: философия, семантика, СПГС, книги о кино