MAXIM FLOUTING IN “BROOKLYN NINE-NINE”

This study aims at identifying the types of maxims flouted by the main characters of “Brooklyn Nine-Nine” and describing the context behind those floutings. The data were taken from the fourth season of “Brooklyn Nine-Nine”, an American police procedural comedy TV show. Documentation method was used to collect the data. Descriptive qualitative method was used to analyze the data by applying Grice’s Cooperative Principle (1975) and Cutting’s Theory of Context (2002). Based on the analysis, all types of conversational maxims were flouted, namely maxim of quantity, maxim of quality, maxim of relation, and maxim of manner. Another finding in this research is that the context behind the floutings were needed to understand the meaning of the utterances. Keywords: Context, Maxim Flouting, Pragmatics

‘Aesthetic Proximity’ and Transnational TV Series

This article focuses on the short lived Turkish police procedural TV series, Cinayet (The Murder, Akbel Film and Adam Film, 2014) which is a scripted format adaptation of the celebrated Danish crime drama Forbrydelsen (DR, 2007-2012). By making a comparative textual analysis of the series, the article intends to emphasize the significance of ‘aesthetic proximity’ as a concept in discussing the global flow of television content and to reveal the challenges of adapting a scripted format which is stylistically different than the local stylistic conventions.

Boltanski, L. (2019). Mysteries and conspiracies. Translated by A. Zakharevich. St. Petersburg: Izdatelstvo Evropeyskogo universiteta. (In Russ.)

The review deals with Luc Boltanski's Mysteries and Conspiracies [Enigmes et complots]. The following is noted as defects of the reviewed book: detective fiction is associated with anxieties that question the framework of modern reality. Such attribution, it is argued, results from inaccurate comparison of detective fiction to a spy novel. The reviewer identifies contradictions in the definition of detective fiction: on the one hand, it is characterised by the proverbial anxiety. On the other, the writer suggests that unravelling a mystery normalises the ‘integrity of predictable expectations.' In addition, Boltanski confuses detective fiction with police procedural novels as well as the concepts of genre and theme with regard to spy novels (as a result, he dwells on ‘the genre of the spy novel,' even though spy novels are written in a number of genres). The review particularly criticises Boltanski's assessment of A. Conan Doyle's prose.

"In a Dry Season" - A Police Procedural Novel by Peter Robinson

Genre fiction, also recognized as popular fiction is an umbrella term as it comprises various categories, varieties, and sub-types. On occasion, innovative writers have practiced in mingling these methods and generating an entirely dissimilar variety of categories. In general, genre fiction inclines to place plentiful significance on entertainment and, as a consequence, it leans towards to be more widespread with mass audiences. But currently, writers are lettering beyond mere meager amusement and they are commenting on various socio-cultural issues, resulting in their writing more realistic. Furthermore, various life real things and norms implied in their writing are constructing the entire genre form and all its types more noteworthy and vital. As accredited by literary jurisdiction following are some of the leading classifications as they are used in contemporary publication: Fantasy, Horror, Science fiction, Crime and Mystery Fiction etc. The kind Crime and Mystery Fiction also has various categories for example, Cozy, Hardboiled, The Inverted Detective Story, Police Procedural, etc. In the present paper, Canadian crime fiction writer Peter Robinson’s novel In a Dry Season is studied in the light of this police procedural type of novel writing. The paper aspires to discover various police procedural features employed by the writer.

Through a Tube, Darkly: Critical Remediation in High and Low (1963)

Akira Kurosawa's 1963 police procedural High and Low is, as its title suggests, intensely interested in the socioeconomic valences of spatial relationships, literalized in Yokohama's affluent hills and its low-lying slums. The central conflict between inhabitants of these two spaces articulates this local topography into a global framework, in which concrete spaces of social interaction and functional production become abstract places that act as conduits for flows of media and capital. Previous analyses have read the film as an historical reflection of and nationalistic reaction to Americanization. Attending to the film's transnational, transtemporal, and transmedial articulations reframes the film as a critical engagement with globalization rather than a symptomatic reflection thereof. The immediate context of the rapid adoption of television, concomitant with Japan's emerging consumerism, allows Kurosawa to figure abstract economic patterns through intermedial formal techniques. These textual practices associate the materiality of celluloid with manual labor, and the ephemerality of TV with speculative finance. By further linking the protagonist Gondo with the former pair and the antagonist Takeuchi with the latter, High and Low formally and structurally critiques economic globalization as a form of criminality.

In the midst of the global and the local: Neo-Ottoman detectives of Filinta

This article intends to understand the significance of depicting the Ottoman past in Turkish TV dramas by focusing on Filinta [Flintlock] (2014–2016) , a hybrid of historical drama and police procedural that is set in the second half of the 19th century in the Ottoman Empire. On the one hand, the article examines the influence of the Ottoman heritage in localising the police procedural genre in Filinta by exploring various kinds of local, cultural and historical connections. On the other hand, it investigates the appeal of using the Ottoman markers in increasing the popularity of the series in the global television market.

Canadian Noir: Consumer Culture, Colonial Nationalism and the Cardinal Series

Giles Blunt’s Cardinal police-procedural novels and their recent television adaptations evidence the noir genre’s sombre aesthetic, focus on a morally tainted hero, are preoccupied with seemingly irrational violence, and fixate on unresolved past injustices. In doing so, they reflect Canada’s aesthetic and ethical relationship to questions of national and transnational culture, colonial territoriality, and the moral principles at stake in the representation of violence. This Canadian ‘re-branding’ of noir features is haunted by deep-seated historical dissension and the present-day repercussions that are at the heart of the country’s national identity. Focusing on the first season of Cardinal (2017) and the novel from which it was adapted, Forty Words for Sorrow (2002), this essay examines the series’ stylish – if conflicted – reworking of noir’s roots in American crime fiction and film, and its use of contemporary Nordic influences, which work to salvage a form of Canadian cultural authenticity from the cultural dominance of US television and film crime dramas.