revised_tv_crime_article_jan_2016_002_.doc

11 although the title sequence varied across seasons

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11 Although the title sequence varied across seasons the characteristics I draw attention to in my discussion are remarkably consistent. See the title sequence at: http://www.youtube.com/watch? v=_VFciCh8d6g [Last accessed October 31 st 2015.] 12 Amy Villarejo (2010) effectively develops this queer framing of Starsky and Hutch in the broader context of a 1970s television in which “relevance” was a vital component. 13 To some extent this accords with Osgerby and Gough-Yates account of action television as a genre, the modern detective series displacing the television western. See also Buscombe and Pearson eds. (1998). Mittell notes and problematizes the relationship between the developing forms of television crime and the variant of crime cinema that was retrospectively termed film noir (2004, 129). 14 In the UK Starsky and Hutch was one of the shows objected to by campaigner Mary Whitehouse. 15 See for example, The Dukes of Hazzard (CBS, 1979-1985). 16 Surveillance technology also generates humour on occasion, as when the comic interactions of NCIS’s DiNozzo and Bishop going undercover in a couples’ intimacy class causes embarrassment.
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