Baltimore in 'The Wire' and Los Angeles in 'The Shield': Urban Landscapes in American Drama Series.
Otros títulos : 
García, Alberto N. (2017). “Baltimore in The Wire and Los Angeles in The Shield: Urban Landscapes in American Drama Series.” SERIES. International Journal of TV Serial Narratives 3(1): 51-60. DOI: 10.6092/issn.2421-454X/7144
Palabras clave : 
Television Studies
Landscape
Television Series
Urban Anthropology
The Wire
The Shield
Fecha incorporación: 
28-jul-2017
ISSN: 
ISSN 2421-454X
Nota de editorial: 
Open Access Policy This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge. It releases its articles under the terms of Creative Commons Attribution 3.0 Unported License. This license allows anyone to download, reuse, re-print, modify, distribute and/or copy the contributions. The works must be properly attributed to its author(s). It is not necessary to ask further permissions both to author(s) or journal board, although you are kindly requested to inform the journal for every reuse of the papers. Authors who publish on this journal maintain the copyrights. Authors are welcome to post pre-submission versions, the original submitted version of the manuscript (preprint) and the final draft post-refereeing (postprint) on a personal website, a collaborative wiki, departmental website, social media websites, institutional repository or non-commercial subject-based repositories. Self-archiving can happen only upon the acceptance of the submission.
Cita: 
García, Alberto N. (2017). “Baltimore in The Wire and Los Angeles in The Shield: Urban Landscapes in American Drama Series.” SERIES. International Journal of TV Serial Narratives 3(1): 51-60. DOI: 10.6092/issn.2421-454X/7144
Resumen
The Shield (FX 2002-08) and The Wire (HBO 2002-08) are two of the most ever critically acclaimed TV-shows and they both can be seen as the finest developed film noir proposals produced in television. The Wire transcends the cop-show 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. On the other, The Shield offers a breathtaking cop-show that features in the foreground the moral ambiguity that characterizes the noir genre. Both series display complementary realist strategies (a neorealist aesthetic in The Wire; a cinéma-vérité pastiche in The Shield) that highlight the importance of city landscape in their narrative. Baltimore and Los Angeles are portrayed not only as a dangerous and ruined physical places, but are also intertwined with moral and political issues in contemporary cities, such as race, class, political corruption, social disintegration, economical disparities, the limitations of the system of justice, the failure of the American dream and so on. The complex and expanded narrative of The Wire and The Shield, as Dimemberg has written for film noir genre, “remains well attuned to the violently fragmented spaces and times of the late-modern world”. Therefore, this article will focus on how The Wire and The Shield (and some of their TV heirs, such as Southland and Justified) reflect and renew several topics related to the city in the film noir tradition: the sociopolitical effects of showing the ruins of the centripetal industrial metropolis, the inferences of filming in actual places, the dramatic presence of what Augé coined as “no-places”, the bachelardian opposition between home and city, or the streets as an urban jungle where danger lurks in every corner.

Ficheros en este registro:
Fichero: 
Urban Landscape in American Drama Series (FINAL).pdf
Descripción: 
Tamaño: 
243,26 kB
Formato: 
Adobe PDF
Fichero: 
The Asphalt Jungle _ Series Journal FINAL (1-oct-16).doc
Descripción: 
Tamaño: 
115,5 kB
Formato: 
Microsoft Word


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