Miami Vice

Miami Vice

In Miami Vice and the Politics of Image and Identity (Kellner, D.

1992), Kellner bases his own research in the micro-social corner of

global media, suggesting that the structural power of Miami Vice

influences cultural norms and values (identities).

It also draws upon the individual agency of audience members to

construct their own identities from the global television programme

Miami Vice (1984-1989).

“Miami Vice is the critics’ favourite example of post-modern

television.” (Giltin 1987 p.144)

According to Kellner, “Popular culture provides images and figures,

which its audience can identify with.” (1992 p145) Miami Vice was

extremely popular on national television. Its use of multiracial

culture was accepted by audiences unlike no other at the time and it

quickly became, “intense, fascinating and seductive.” (p.148)

This notion is exaggerated in the opening sequence. The artificial

images and bright Florida colours are structured to emulate the

excitement of Miami Vice. This in effect, would appeal to the viewing

audience immediately as it’s an alternative lifestyle to their own.

Miami Vice positions its viewers to “identify with and desire an

affluent upscale lifestyle.” (Kellner 1992 p.149)

This is represented in the opening images of a speedboat racing across

the ocean to a pulsating musical beat. Its fast pace reflects the

characters identity within the narrative.

“The strategy of setting a desperate war against vice against a

glamorous backdrop is an explicit theme in the series.” (Buxton, D.

1990 p.144)

The structure of Miami Vice “pulsates intense emotion, a clash of

values and highly ...

... middle of paper ...

... The analysis touches upon globalisation and cultural imperialism,

suggesting the powerful images of the series have an adverse effect on

the audience, influencing certain ideologies.

However, Kellner concludes that the “current construction of identity

is distinctly post-modern and has had a fundamental shift in the

construction of identity altogether.” (p.148)

References

Buxton, D. (1990).From the Avengers to Miami Vice: Form and Ideology

in Television Series. Manchester University Press: Manchester and New

York.

Kellner, D. (1992). Miami Vice and the Politics of Image and Identity

(p.148-158) in

Lash, S. & Friedman, J. (eds) (1992). Modernity and Identity.

Blackwell Publishers Ltd: Oxford.

Shahita, Y. (2003) Don Johnson. Retrieved 29 March 2005 from

http://www.enigma-mag.com/doninterview.htm