Abstract
When dealing with crime, different legal codes accordingly punishing diverse degrees of violations, and numerous types of related perpetrators correspond to many divisions of law enforcement areas (Dorland & Charland, 2002; Olandewarju, 2009; Brundson, 2010; Marmor, 2014). Nonetheless, large amounts of police force sectors exist, and television interests are well focused on the utter rendition of fascinating ones from the commodification perspective (Collins, 1990; Gittins, 1999; Creeber, 2006). Thus, crime drama genres operate at different narrative levels shifting from pure procedural aims to conveying of the catchy contents ascribable to cinematic action environments.
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Notes
- 1.
Despite the narrative focus on a single team, other units are mentioned or referred to in the series, seldom cooperating with the main one.
- 2.
The corpus is not merely based on straight TV series scripts. It comes from an extensive qualitative transcript activity inclusive of POS tags and other essential prosodic annotations implementing the collected data’s informativity levels.
- 3.
All the labels about appraisal framework evaluations—here as in the following chapters—reference J.R. Martin and P.R.R. White (2005)
- 4.
Although plot developments justify Jules’ absence because of the gunshot wound, Amy Jo Johnson took a break due to maternity leave in real life. The actress was already an expectant mother when she started filming Flashpoint, and her status was camouflaged as far as possible thanks to the uniforms and vests she had to wear all the time throughout the shootings (Goldman, 2008).
- 5.
The actress also starred in another TV serial analysed in this study. Tattiawna Jones indeed interpreted the fixed character of Amelie De Grace in 19-2 from 2014 to 2017 (her character was killed in the show).
- 6.
Bold is mine for emphasis throughout the manuscript.
- 7.
Police Radar Information Center. ‘Police 10 codes’. https://copradar.com/tencodes/ (accessed June 19, 2019).
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Gentile, F.P. (2021). Flashpoint as in-Group Psychological and Action Narrative. In: Corpora, Corpses and Corps. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-78276-4_4
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