Media Research Techniques (first teaching 2022) GapFill

Watch the ending sequence of Sherlock S01E03 'The Great Game'

►https://www.youtube.com/watch?v=fryqpe95VdU

Fill in the gaps in the textual analysis below. 

Explain how Sherlock is conventional of the crime drama genre.

Within the ending sequence of the episode 'The Great Game', there are many generic   codes indicators types conventions that are typical of the crime drama genre. Firstly, the setting of the ending sequence is a swimming pool. The setting of an enclosed space (conventional of crime dramas) creates a dark, sinister and eerie atmosphere   connoting suggesting denoting implying tension and suspense; this is further anchored by the poor lighting and the echo of the characters' speech.

The setting is an example of cultural   verisimilitude clues truth vibes; this is prevalent in crime dramas and has been used to give the storyline an air of reality, i.e. audiences can relate to the ordinary setting of an unassuming swimming pool. However, the mise en scène   suggests conforms to rejects subverts the typical connotations of swimming pools as places for relaxation, pleasure and fun, to further emphasise the juxtaposition between good and evil between the hero and the villain.  

The light rippling through the water is almost calming and reinforces a false sense of security which further adds to the uneasiness of the scene. The use of   effective diegetic non-diegetic muffled sound also adds to the tension and suspense of the scene. While creating / adding to the mood and atmosphere, the sound signals to the audience that something bad is about to happen (dramatic irony).

This is conventional of the crime drama genre. Also typical within crime dramas is a meeting place where the oppositional characters meet and which usually ends in a dramatic way. The confined space of the swimming pool encourages the characters to assert a sense of power and control (conflict between good and evil). Within the ending sequence, the audience is first led to believe that Moriarty (seen as a threat) is the character with the power and control – for example in his manipulation of Watson, and his parting comment of ‘catch you later… no you won’t’ – but as Sherlock is the lead character, the audience expects good to prevail over evil (conventional of crime dramas). Yet this scene reinforces a vulnerable side to Sherlock that the audience can relate to. This is also conventional of crime dramas in reinforcing that the lead character is not invincible.   

Secondly, the   mode of address use examples iconography of props such as guns (handguns and rifles) and the bomb reinforces the crime drama genre and anchors a sense of conflict that is imperative to the narrative of crime dramas. The use of in-focus shots,   establishing close-ups ending sequence dolly and medium shots is generic of crime dramas as they are used to evoke/portray character emotion and to create tension. In crime dramas, it is typical that the villain has his own quest. In this ending sequence it would appear that the quest would be to retrieve a memory stick that contains important information that could cause havoc if in the wrong hands; this is anchored in Sherlock’s dialogue of ‘All your puzzles making me dance, all to distract me from this.’  

The iconography of costume is quite important in the ending sequence as we learn that Moriarty is the villain by his typical costume of a suit, which suggests he is no ordinary villain – as a serial killer, he’s a clever schemer (puzzles) with no remorse or conscience. This is further anchored in his remark ‘I’m a specialist like you.’ Thirdly, a typical convention of crime dramas is the   mode of address example enigma use surrounding the villain’s identity. In the ending sequence, this is evident in the use of out-of-focus shots and close-ups that conceal the full visual of Moriarty. This creates mystery, adds suspense, raises audience curiosity and adds to the tension and climax of the ending.  

Typical of crime dramas is the   differences versus story binary opposition of good and evil. By the end of the ending sequence it is clear that Sherlock is good and Moriarty is evil. However, a plot twist at the beginning encourages the audience to doubt this as Watson enters stating ‘this is a turn up, isn’t it Sherlock?’ (disruption of the equilibrium).  

Plot twists are typical in crime dramas as they keep the audience guessing and raise audience expectation for future episodes. We learn that Watson is just another victim in Moriarty’s cruel game when he states ‘what would you like to make him say next?’.   

Propp’s character theory can also be applied to the ending sequence; Sherlock can be seen as the hero; he reinstates his control (self-sacrifice to overcome evil) by pointing his gun at the bomb. Watson as the sidekick (‘Sherlock run!’) and Moriarty as the villain (‘I’ll burn you’). Finally, typical within the ending sequence of highly emotionally charged episodes (crime dramas), the ending fades to black. The use of  a narrativean enigmaa cliffhangera suspense tool is typical in crime dramas and encourages the audience to watch the next episode. This instils a need in the audience to find out the resolution. Overall, there are many conventions that are suggestive of the crime drama genre within the ending sequence of Sherlock.