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Thesis advisor: Bonnie Jefferson / Images of crime and authorities' attempts to protect society from evil, which saturate dramatic programming on television, have the potential to influence public perception of crime and of crime-solving tools used in the real world. Although "Criminal Minds," a popular broadcast series, shares this potential, it distinguishes itself from others of its genre through its use of criminal profiling as its crime solving mechanism. Using standards provided in Douglas et al.'s "Crime Classification Manual: A Standard System for Investigating and Classifying Violent Crimes, Second Edition," the "Diagnostic and Statistical Manual of Mental Disorders, Fourth Edition," and the "Hare Psychopathy Checklist Revised" as theoretical frameworks, this Communication thesis examines how the criminal profiling depictions of two "Criminal Minds" episodes conform to established criminal profiling conventions utilized by law enforcement. Overall, the results of these analyses suggest that the criminal profiling portrayals in the episodes "L.D.S.K." and "Fear and Loathing" adhere to legitimate real life criminal profiling considerations. / Thesis (BA) — Boston College, 2010. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Communication Honors Program. / Discipline: Communication Department.

This study investigated whether watching crime related television shows affected accuracy of psychological profiles for a sexual homicide offender. The television shows in the study were a fiction drama with a profiling element, a fiction drama without a profiling element, a nonfiction show with a profiling element, a nonfiction show without a profiling element, and a fiction drama with no crime element at all. Participants were 290 college students who watched a television show and then profiled a sexual homicide offender. High self-exposure to crime related television shows and experimental exposure to profiling related television shows were associated with greater accuracy for profiling certain aspects of the offender and/or offense. In addition, gender interacted with crime show viewing for certain types of profile accuracy.

This pre-test, post- test experiment examined the effects of mortality salience, frames of the military and military personnel, and regulatory focus on viewer attitudes toward the military, support for the military, and their perceptions of military personnel's criminal behavior. Participants viewed a short video clip from an episode of NCIS which contained either a sympathetic or non-sympathetic frame of the military and, in the treatment condition, a mortality salience reminder. Frame (sympathetic or non-sympathetic) had a significant effect on participant attitudes toward the military in the control condition when there was no mortality salience reminder present in the video clip. However, when participants' mortality was made salient, attitudes and support for the military did not change. Theoretical and practical implications and suggestions for future research are discussed. / Master of Arts

Mass media play an important role in shaping public perceptions about differentthematics, including crime and justice. The consumption of mediatic contents indifferent forms, such as newspapers, television news and crime dramas, can affectthe way people perceive and interpret concepts as deviance and punishments, theattitude towards the criminal system and the level of concern for becoming a victim.In the last years, Streaming Videos On Demand platforms have made easier theaccess and the consumptions of contents as crime dramas; the changes in themodality of fruition have been followed by changes in the representation ofcharacters, with the introduction and the increasing diffusion of morally ambiguousfigures. This opens new possibilities of research, particularly regarding the modesof representation of criminals as antiheroes. The purpose of the article is then toinvestigate how the figure of the offender is constructed as antihero in four OriginalNetflix Productions (You, Narcos, Ozark, La Casa de Papel). A Critical DiscourseAnalysis of two narrative themes is conducted combining Marxist andPostmodernist interpretative approaches.

In contemporary crime drama there has been a shift of main character from the forensic scientist to the consultant. This put the representation of knowledge in a different light. In this study the focus is on how, and what kind of cognitive processes and knowledge are represented in two crime dramas with consultants as main characters; CSI: Crime Scene Investigation and Sherlock. Basing the analysis on concepts of cognitive processes and knowledge, it becomes evident that due to the shift in main character the representation of knowledge also has changed; from an institutionalized and science based view on knowledge to the legitimization of a personal, uncritical and fast way of gathering knowledge.

This thesis examines how the first 10 seasons of CSI: Crime Scene Investigation (CBS, 2000–) engage with discourses on science. Investigating CSI’s representation of scientific practices and knowledge, it explicitly attempts to look beyond the generic assumption that forensic crime dramas simply ‘celebrate’ science. The material is analysed at three different levels, studying CSI’s wider cultural discursive context, genre linkages, and audio-visual form. In order to fully account for the series’ specificity, the thesis undertakes comparative analyses of earlier forensic crime dramas and other relevant audio-visual material. Close textual readings of certain thematic tropes, narrative devices and visual imagery in CSI are thus supplemented by historical studies of their extended generic backgrounds. This textual-historical approach generates a general argument that CSI dramatizes and evokes a number of different, and often contradictory, scientific ideas, perspectives and discursive shifts. The thesis concludes that CSI stages a transnational cultural forum, simultaneously engaging with residual, dominant and emergent discourses on science.  Throughout, close attention is paid to the multiple perspectives and viewpoints that allow the series to appeal to a wide and heterogeneous global audience. Furthermore, the thesis asserts that CSI specifically articulates a post-genomic structure of feeling, which begins to express the wider cultural implications of an emergent discursive shift whereby the instrumentalisation of molecular science seemingly offers more possibilities for human intervention into biological processes. Thus, the study demonstrates how CSI’s discourse on science treats recent scientific developments as engendering a cultural process of redefinition, questioning foundational concepts such as truth, identity, body, kinship and emotions.

The storytelling ability of television can be observed in any genre. Crime drama offers a unique perspective because victims and offenders change every episode increasing stereotypes with each new character. In other words, the more victims and criminals observed by the audience, the more likely the show creates the perception of a mean world. Based on previous literature, three questions emerged which this study focused on by asking the extent of Criminal Minds’ ability to portray crime accurately compared to the Federal Bureau of Investigations Uniform Crime Report (UCR) and the Behavioral Analysis Unit’s (BAU-4) report on serial murderers and how those portrayals changed over the fifteen years of the show. A content analysis was conducted through the lens of cultivation theory, coding 324 episodes which produced a sample size of 354 different cases to answer the research questions. Two additional coders focused on the first, middle, and last episodes of each season (N=45) for reliability. The key findings are low levels of realism with the UCR and high levels of realism with the BAU-4 statistics. Mean-world syndrome was found to be highly likely to be cultivated in heavy viewers. Finally, roles for minority groups did improve overtime for Black and Brown bodies, yet Asian bodies saw a very small increase in representation. LGBT members were nearly nonexistent. The findings indicated that there is still not enough space in television for minority roles and found that the show perpetuated stereotypes. Additional implications and themes include a lack discourse on violence and erasure of sexual assault victims.