“Quebre as Regras, Não a Lei”: A Normalização da Brutalidade e o Reforço da Autoridade Policial nas Séries Estadunidenses
DOI:
https://doi.org/10.17231/comsoc.42(2022).4002Palavras-chave:
televisão, instituições ficcionais, séries policiais, brutalidade policialResumo
Desde a década de 1950, as séries institucionais policiais estão entre as produções mais populares da televisão estadunidense. Por meio da reiteração da mentalidade do “nós versus eles”, policiais são ficcionalizados como agentes normativos que defendem o “bem”, enquanto o crime é retratado como uma falha moral e individual do criminoso. Além dessas produções recorrentemente ignorarem problemas sistêmicos da sociedade estadunidense que são utilizados para explicar a criminalidade no mundo real, elas também reforçam a autoridade da instituição como detentora da força para manutenção do status quo. Partindo da perspectiva que essas séries atuam na construção e mediação de sentido sobre o papel desempenhado pelas instituições policiais do mundo real e de seus membros na sociedade, estruturamos o texto em torno de dois principais argumentos: (a) as séries reforçam a autoridade da instituição policial, tratando suas ações como inquestionáveis e, mais importante, abrindo espaço para intervenções das instituições policiais do mundo real nos processos de ficcionalização das mesmas; (b) as séries normalizam a brutalidade policial, com narrativas frequentemente justificando atos violentos como uma ferramenta investigativa eficiente, ilustrando normas e burocracias como grandes empecilhos ao trabalho do policial. Ao enquadrar as violações éticas e de direitos humanos como atos eficientes e necessários essas séries contribuem para normalizar alguns dos aspectos mais sujos da profissão.
Downloads
Referências
Andrew, S. (2020, June 17). There’s a growing call to defund the police. Here’s what it means. CNN. https://edition.cnn.com/2020/06/06/us/what-is-defund-police-trnd/index.html
Ashforth, B. E., & Kreiner, G. E. (1999). “How can you do it?”: Dirty work and the challenge of constructing a positive identity. Academy of Management Review, 24(3), 413–434. https://doi.org/10.2307/259134 DOI: https://doi.org/10.5465/amr.1999.2202129
Bandes, S. A. (2021). From Dragnet to Brooklyn 99: How cop shows excuse, exalt and erase police brutality. In T. Aiello (Ed.), Routledge handbook of police brutality in America. Advance online publication. https://doi.org/10.2139/ssrn.3835444 DOI: https://doi.org/10.2139/ssrn.3835444
Bellisario, D., Binder, S., Brennan, S., Cardea, F., Glasberg, G., Johnson, C., Schenck, G., Harmon, M., & Horowitz, M. (Executive Producers). (2003–present). NCIS [TV series]. Belisarius Productions; CBS Studios.
Bochco, S., Kozoll, M., Lewis, J., & Milch, D. (Executive Producers). (1981–1987). Hill Street blues [TV series]. MTM Enterprises.
Bochco, S., Milch, D., Clark, B., Tinker, M., Olmstead, M., Wootton, N., Hoblit, G., & Finkelstein, W. (Executive Producers). (1993–2005). NYPD blue [TV series]. Steven Bochco Productions; 20th Century Fox Television.
Brandt, M., Haas, D. (Escritores), & Chapelle, J. (Director). (2014, January 15). Wrong side of the bars (Season 1, Episode 2) [TV series episode]. In D. Wolf, M. Olmstead, D. Gelber, M. Brandt, D. Haas, M. Tinker, A. W. Forney, P. Jankowski, R. Eid, T. Miller, & G. Sigan (Executive Producers), Chicago P.D. Wolf Entertainment; Universal Television.
Brandt, M., Haas, D. (Writers), & de Segonzac, J. (Director). (2016, May 11). Justice (Season 3, Episode 21) [TV series episode]. In D. Wolf, M. Olmstead, D. Gelber, M. Brandt, D. Haas, M. Tinker, A. W. Forney, P. Jankowski, R. Eid, T. Miller, & G. Sigan (Executive Producers), Chicago P.D. Wolf Entertainment; Universal Television.
Brandt, M., Haas, D. (Writers), & Nowlan, C. (Director). (2017, January 3). Don’t bury this case (Season 4, Episode 9) [TV series episode]. In D. Wolf, M. Olmstead, D. Gelber, M. Brandt, D. Haas, M. Tinker, A. W. Forney, P. Jankowski, R. Eid, T. Miller, & G. Sigan (Executive Producers), Chicago P.D. Wolf Entertainment; Universal Television.
Brandt, M., Haas, D. (Writers), & Tabrizi, R. (Director). (2017, March 1). Emotional proximity (Season 4, Episode 16) [TV series episode]. In D. Wolf, M. Olmstead, D. Gelber, M. Brandt, D. Haas, M. Tinker, A. W. Forney, P. Jankowski, R. Eid, T. Miller, & G. Sigan (Executive Producers), Chicago P.D. Wolf Entertainment; Universal Television.
Brandt, M., Haas, D. (Writers), & Tinker, M. (Director). (2014, April 30). 8:30 PM (Season 1, Episode 12) [TV series episode]. In D. Wolf, M. Olmstead, D. Gelber, M. Brandt, D. Haas, M. Tinker, A. W. Forney, P. Jankowski, R. Eid, T. Miller, & G. Sigan (Executive Producers), Chicago P.D. Wolf Entertainment; Universal Television.
Brewer, P. R., & Ley, B. L. (2010). Media use and public perceptions of DNA evidence. Science Communication, 32(1), 93–117. https://doi.org/10.1177/1075547009340343 DOI: https://doi.org/10.1177/1075547009340343
Britto, S., Hughes, T., Saltzman, K., & Stroh, S. (2007). Does ‘special’ mean young, white and female? Deconstructing the meaning of ‘special’ in Law & Order: Special Victims’ unit. Journal of Criminal Justice and Popular Culture, 14(1), 39–57. https://digitalcommons.cwu.edu/cotsfac/760/
Brooks, T., & Marsh, E. F. (2007). The complete directory to prime time network and cable TV shows, 1946-present. Ballantine Books.
Brown, N. J. (2001). A comparison of fictional television crime and crime index statistics. Communication Research Reports, 18(2), 192–199. https://doi.org/10.1080/08824090109384797 DOI: https://doi.org/10.1080/08824090109384797
Burns, B. (Writer), & Zakrzewski, A. (Director). (2014, October 17). Excessive force (Season 5, Episode 4) [TV series episode]. In L. Goldberg, B. Burns, M. Burgess, R. Green, S. B. O’Connor, I. Biederman, & K. Wade (Executive Producers), Blue bloods. Panda Productions; CBS Studios.
Buxton, D. (1990). From The Avengers to Miami Vice: Form and ideology in television series. Manchester University Press.
Chevigny, P. (1995). Edge of the knife: Police violence in the Americas. The New York Press.
Cobbina-Dungy, J. E., & Jones-Brown, D. (2021). Too much policing: Why calls are made to defund the police. Punishment & Society. Advance online publication. https://doi.org/10.1177/14624745211045652 DOI: https://doi.org/10.1177/14624745211045652
Cole, S. A., & Dioso-Villa, R. (2007). The CSI effect: The true effect of crime scene television on the justice system. New England Law Review, 41, 435–455.
Color of Change. (n.d.). Normalizing injustice: New landmark study by color of change reveals how crime tv shows distort understanding of race and the criminal justice system [Press release]. https://colorofchange.org/press_release/normalizing-injustice-new-landmark-study-by-color-of-change-reveals-how-crime-tv-shows-distort-understanding-of-race-and-the-criminal-justice-system/
Cummins, I., & King, M. (2015). ‘Drowning in here in his bloody sea’: Exploring TV cop drama’s representations of the impact of stress in modern policing. Policing and Society, 27(8), 832–846. https://doi.org/10.1080/10439463.2015.1112387 DOI: https://doi.org/10.1080/10439463.2015.1112387
D’acci, J. (1994). Defining women: Television and the case of Cagney & Lacey. University of North Carolina Press.
Deutsch, S. K., & Cavender, G. (2008). CSI and forensic realism. Journal of Criminal Justice and Popular Culture, 15(1), 34–53.
Dick, P. (2005). Dirty work designations: How police officers account for their use of coercive force. Human Relations, 58(11), 1363–1390. https://doi.org/10.1177%2F0018726705060242 DOI: https://doi.org/10.1177/0018726705060242
Dixon, T. L. (2006). Psychological reactions to crime news portrayals of Black criminals: Understanding the moderating roles of prior news viewing and stereotype endorsement. Communication Monographs, 73(2), 162–187. https://doi.org/10.1080/03637750600690643 DOI: https://doi.org/10.1080/03637750600690643
Donovan, K. M., & Klahm IV, C. F. (2015). The role of entertainment media in perceptions of police use of force. Criminal Justice and Behavior, 42(12), 1261–1281. https://doi.org/10.1177%2F0093854815604180 DOI: https://doi.org/10.1177/0093854815604180
Donziger, S. R. (1996). The real war on crime: Report of the National Criminal Justice Commission. Harper Collins.
Dowler, K. (2016). Police dramas on television. In Oxford research encyclopedia of criminology and criminal justice (pp. 1–22). Oxford University Press. https://doi.org/10.1093/acrefore/9780190264079.013.175 DOI: https://doi.org/10.1093/acrefore/9780190264079.013.175
Doyle, A. (2003). Arresting images: Crime and policing in front of the television cameras. University of Toronto Press. DOI: https://doi.org/10.3138/9781442671003
Ericson, R. V., & Shearing, C. (1986). The scientification of police work. In G. Bohme & N. Stehr (Eds.), The knowledge society. Sociology of science yearbook (Vol. 10; pp. 129–159). Reidel. DOI: https://doi.org/10.1007/978-94-009-4724-5_9
Eschholz, S., Mallard, M., & Flynn, S. (2004). Images of prime time justice: A content analysis of ‘NYPD Blue’ and ‘Law & Order’. Journal of Criminal Justice and Popular Culture, 10(3), 161–180.
Finnerty, J., Fontana, T., Levinson, B., & Bromell, H. (Executive Producers). (1993–1999). Homicide: Life on the street [TV series]. Baltimore Pictures; Fatima Productions; MCEG Sterling Incorporated; NBC Productions; NBC Studios; Reeves Entertainment.
Garrison, G. (Executive Producer). (1949). Stand by for crime [TV series]. ABC Studios.
Gerber, D. (Executive Producer). (1974–1978). Police woman [TV series]. Columbia Pictures Television; David Gerber Productions.
Giddens, A. (1991). The consequences of modernity. Stanford University Press.
Goldberg, L., Burns, B., Burgess, M., Green, R., O’Connor, S., Biederman, I., & Wade, K. (Executive Producers). (2010–present). Blue bloods [TV series]. CBS Studios; Panda Productions.
Gordon, M., Davis, J., Bernero, E., Spera, D., Mundy, C., Mirren, S., Messer, E., Barrois, J., Frazier, B., Bring, H., & Kershaw, G. (Executive Producers). (2005–2020). Criminal minds [TV series]. ABC Studios; CBS Paramount Network Entertainment One; The Mark Gordon Company; Touchstone Television.
Grady, C. (2020, July 3). How 70 years of cop shows taught us to valorize the police. Vox. https://www.vox.com/culture/2020/6/3/21275700/police-showprocedurals-hollywood-history-dragnet-keystone-cops-brooklyn-nine-nine-wire-blue-bloods
Graham, A., Haner, M., Sloan, M. M., Cullen, F. T., Kulig, T. C., & Jonson, C. L. (2020). Race and worrying about police brutality: The hidden injuries of minority status in America. Victims & Offenders, 15(5), 549–573. https://doi.org/10.1080/15564886.2020.1767252 DOI: https://doi.org/10.1080/15564886.2020.1767252
Hall, A. L. (2013). Torture and television in the United States. The Muslim World, 103(2), 267–286. https://doi.org/10.1111/muwo.12012 DOI: https://doi.org/10.1111/muwo.12012
Harvey, E., & L. Derksen (2009). Science fiction or social fact? An exploratory content analysis of popular press reports on the CSI effect. In M. Byers & V. M. Johnson (Eds.), The CSI effect: Television, crime, and governance (pp. 3–28). Lexington Books.
Hawley, A., Fillion, N., Gordon, M., Pepper, N., Chapman, M., Steinberg, J., Friedlander, L., & Norcross, W. (Executive Producers). (2018–present). The rookie [TV series]. ABC Signature; Entertainment One; Perfectman Pictures.
Holmes, M. D., & Smith, B. W. (2008). Race and police brutality: Roots of an urban dilemma. State University of New York Press.
Hudácskó, B. (2017). The case of the Two Gregsons: From a study in Scarlet to Elementary. In L. Krawczyk-Żywko (Ed.), Victorian detectives in contemporary culture (pp. 57–76). Palgrave. DOI: https://doi.org/10.1007/978-3-319-69311-8_5
Hughes, E. C. (1950). “Work and the self”. In J. H. Rohrer & M. Sherif, (Eds.), Social psychology at the crossroads (pp. 313–323). Harper.
Hughes, E. C. (1958). Men and their work. Free Press.
Jenkins, T. (2016). The CIA in Hollywood: How the agency shapes film and television. University of Texas Press.
Kearns, E. M., & Young, J. K. (2017). “If torture is wrong, what about 24?” torture and the Hollywood effect. Crime & Delinquency, 64(12), 1568–1589. https://doi.org/10.1177/0011128717738230 DOI: https://doi.org/10.1177/0011128717738230
Langley, J., & Barbour, M. (Executive Producers). (1989–present). Cops [TV series]. Barbour/Langley Productions; Fox Corporation; Paramount Network Original Productions; Spike Original Programming.
Leonard, E., Yost, G., Golan, F., Dinner, M., Timberman, S., Beverly, C., Andron, D., Kurt, D., Olyphant, T., Elmore, T., Cavell, B., & Provenzano, C. (Executive Producers). (2010–2015). Justified [TV series]. Rooney McP Productions; Timberman/Beverly Productions; Nemo Films; FX Productions; Sony Pictures Television.
Maeder, E. M., & Corbett, R. (2015). Beyond frequency: Perceived realism and the CSI effect. Canadian Journal of Criminology and Criminal Justice, 57(1), 83–114. https://psycnet.apa.org/doi/10.3138/cjccj.2013.E44 DOI: https://doi.org/10.3138/cjccj.2013.E44
Males, M. A. (1999). Framing youth: Ten myths about the next generation. Common Courage Press.
Mann, A., McAdams, J., & Rapf, M. (Executive Producers). (1973–1978). Kojak [TV series]. Universal Television.
Marc, D. (1984). Demographic vistas: Television in American culture. University of Pennsylvania Press.
Martin, Q., & Saltzman, P. (Executive Producers). (1965–1974). The F.B.I. [TV series]. QM Productions; Warner Bros. Television.
Mayer, J. (2007, February 11). Whatever it takes. The politics of the man behind “24”. The New Yorker. https://www.newyorker.com/magazine/2007/02/19/whatever-it-takes
McLaughlin, E., & Murji, K. (1999). The postmodern condition of the police. The Liverpool Law Review, 21(2–3), 217–240. https://doi.org/10.1023/A:1005637612120 DOI: https://doi.org/10.1023/A:1005637612120
Meimaridis, M. (2021). “One Chicago”: Instituições ficcionais e comfort series na televisão estadunidense [Doctoral dissertation, Universidade Federal Fluminense]. Repositório UFF. https://app.uff.br/riuff/handle/1/22653
Miller, M. (2007, February 14). “24” and “Lost” get symposium on torture. The Seattle Times. https://web.archive.org/web/20110524053150/http://seattletimes.nwsource.com/html/television/2003570697_tvtorture14.html
Mitrani, S. (2013). The rise of the Chicago police department: Class and conflict, 1850-1894. University of Illinois Press. DOI: https://doi.org/10.5406/illinois/9780252038068.001.0001
Mittell, J. (2004). Genre and television: From cop shows to cartoons in American culture. Routledge. DOI: https://doi.org/10.4324/9780203642139
Moran, A., & Malbon, J. (2006). Understanding the global TV format. Intellect Books.
Murphy, R., Falchuk, B., Minear, T., Coto, J., Reidel, K., Woodall, A., Gray, J., Buecker, B., Krause, P., & Bassett, A. (Executive Producers). (2018–present). 9-1-1 [TV series]. Reamworks; 20th Television.
Podlas, K. (2006). The CSI effect and other forensic fictions. Loyola of Los Angeles Entertainment Law Review, 27(2), 88–125. https://digitalcommons.lmu.edu/elr/vol27/iss2/1/
Raney, A. A., & Bryant, J. (2002). Moral judgment and crime drama: An integrated theory of enjoyment. Journal of Communication, 52(2), 402–415. https://doi.org/10.1111/j.1460-2466.2002.tb02552.x DOI: https://doi.org/10.1111/j.1460-2466.2002.tb02552.x
Rosenzweig, B. (Executive Producer). (1981–1988). Cagney & Lacey [TV series]. Filmways Television; Mace Neufeld Productions; Orion Television.
Ryan, S., Brazil, S., Mazzara, G., Eglee, C., Sutter, K., Rosenbaum, S., & Fierro, A. (Executive Producers). (2002–2008). The shield [TV series]. Fox Television Studios; MiddKidd Productions.
Ryan, S. (Writer), & Johnson, C. (Director). (2002, March 12). Pilot (Season 1, Episode 1) [TV series episode]. In S. Ryan, S. Brazil, G. Mazzara, C. H Eglee, K. Sutter, S. Rosenbaum, & A. Fierro (Executive Producers), The shield. MiddKid Productions; Fox Television Studios.
Schneider, M. (2021, May 25). 100 most-watched TV shows of 2020-21: Winners and losers. Variety. https://variety.com/2021/tv/news/most-popular-tv-shows-highest-rated-2020-2021-season-1234980743/
Schweitzer, N. J., & Saks, M. J. (2007). The CSI effect: Popular fiction about forensic science affects the public’s expectations about real forensic science. Jurimetrics, 47, 357–364.
Selepak, A. G., & Cain, J. (2015). Manufacturing white criminals: Depictions of criminality and violence on law & order. Cogent Social Sciences, 1(1), Article 1104977. https://doi.org/10.1080/23311886.2015.1104977 DOI: https://doi.org/10.1080/23311886.2015.1104977
Sharrett, C. (2012). Jack Webb and the vagaries of right-wing TV entertainment. Cinema Journal, 51(4), 165–171. DOI: https://doi.org/10.1353/cj.2012.0087
Siegel, T. (2020, July 1). Hollywood and the police: A deep, complicated and now strained relationship. The Hollywood Reporter. https://www.hollywoodreporter.com/features/hollywood-police-a-deep-complicated-now-strained-relationship-1301211?utm_source=twitter&utm_medium=social
Simon, D., Colesberry, R., & Noble, N. (Executive Producers). (2002–2008). The wire [TV series]. Blown Deadline Productions; HBO Entertainment.
Skolnick, J. H., & Fyfe, J. J. (1994). Above the law: Police and the excessive use of force. Free Press.
Sparks, R. (1992). Television and the drama of crime: Moral tales and the place of crime in public life. Open University Press.
Spelling, A., & Goldberg, L. (Executive Producers). (1975–1979). Starsky & Hutch [TV series]. Columbia Pictures Television; Spelling-Goldberg Productions.
Stark, S. D. (1987). Perry Mason meets Sonny Crockett: The history of lawyers and the police as television heroes. University of Miami Law Review, 42, 229–283. https://repository.law.miami.edu/umlr/vol42/iss1/11/
Surnow, J., Cochran, R., Grazer, B., Gordon, H., Katz, E., Sutherland, K., Cassar, J., Coto, M., Fury, D., Turner, B., Braga, B., Gansa, A., Johannessen, C., & Krantz, T. (Executive Producers). (2001–2010). 24 [TV series]. Imagine Television; Real Time Productions; Teakwood Lane Productions; 20th Century Fox Television.
Thorne, W. (2020, June 16). TV police under the microscope: ‘We need different people writing different cop shows’. Variety. https://variety.com/2020/tv/features/cop-shows-under-microscope-1234635929/?__twitter_impression=true
Turnbull, S. (2014). TV crime drama. Edinburgh University Press. DOI: https://doi.org/10.1515/9780748678181
Waddington, P. A. (1999). Police (canteen) sub-culture. An appreciation. The British Journal of Criminology, 39(2), 287–309. https://doi.org/10.1093/bjc/39.2.287 DOI: https://doi.org/10.1093/bjc/39.2.287
Webb, J. (Executive Producer). (1951–1959). Dragnet [TV series]. Mark VII Productions; NBC Film Division.
Wolf, D., Forney, A., Jankowski, P., Turk, C., Plageman, G., Miller, T., Eid, R., & Barba, N. (Executive Producers). (2018–present). FBI [TV series]. CBS Studios; Wolf Entertainment.
Wolf, D. Olmstead, M. Gelber, D. Brandt, M. Haas, Derek. Tinker, M. (Executive Producers). (2014–present). Chicago P.D. [TV series]. Universal Television; Wolf Entertainment.
Wolf, D., Stern, J., Sherin, E., Green, W., Chernuchin, M., Balcer, R., Finkelstein, W., Penn, A., Jankowski, P., Schindel, B., Penn, M., Wootton, N., Berner, F., Eid, R., & Forney, A. (Executive Producers). (1990–2010). Law & order [TV series]. NBC Universal Television; Studios USA; Universal Media Studio; Universal Network Television; Universal Television.
Yost, G. (Writer), & Werner, P. (Director). (2012, March 6). Watching the detectives (Season 3, Episode 8) [TV series]. In E. Leonard, G. Yost, F. Golan, M. Dinner, S. Timberman, C. Beverly, D. Andron, D. Kurt, T. Olyphant, T. Elmore, B. Cavell, & C. Provenzano (Executive Producers), Justified. Rooney McP Productions, Sony Pictures Television.
Zeitchik, S. (2020, October 14). CBS is remaking its police shows for the Black Lives Matter era. The Washington Post. https://www.washingtonpost.com/business/2020/10/14/cbs-police-shows-black-lives-matter/
Zuiker, A., Petersen, W., Bruckheimer, J., Donahue, A., Fink, K., Shankar, N., & Cannon, D. (Executive Producers). (2000–2015). CSI: Crime scene investigation [TV series]. Alliance Atlantis; CBS Productions; CBS Television Studios; Jerry Bruckheimer Films.
Downloads
Publicado
Como Citar
Edição
Secção
Licença
Direitos de Autor (c) 2022 Dra. Melina Meimaridis, Rodrigo Quinan
Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.
Os autores são titulares dos direitos de autor, concedendo à revista o direito de primeira publicação. O trabalho é licenciado com uma Licença Creative Commons - Atribuição 4.0 Internacional.
