Language

• The urban setting of London connotes realism with a focus on the underbelly of urban society and gangland activity.
• The programme offers an unglamourised view of the capital. The pre-title sequence is filmed on a piece of waste land which highlights the use of real locations in the programme which would've been a part of the show's appeal
• The connotations of the character's clothing and appearance create meaning as it establishes a hierarchy. Haskins (the boss) wears city wear of the time including a formal suit and black overcoat.
• The connotations of the character's clothing and appearance create meaning as it establishes a hierarchy. Regan and Carter as detectives are not in uniform and are less formal. The 'villains’ are also demarcated through clothing
• The shots and editing suggest an attempt to create realism and distance the programme from earlier examples of the genre mainly filmed on sets.
• The technical codes also suggest the time in which it was made as they are more simplistic, the editing mainly relies on continuity editing and in some scenes there is clearly one one camera
• A film stock is used and the location of filming reinforces the realistic feel of the programme, these techniques would have been refreshing for audiences of the time, involving them in the action
• There is limited use of music with the main audio codes being non-diegetic sound, dialogue and silence.
• The use of silence was innovative at the time and was used to create realism. For example when Regan is taking surveillance photographs of different members of the gang. Music then cuts in suggesting the narrative is moving forward.
• The non-diegetic soundtrack of the title sequence became iconic and synonymous with the programme's brand
• Accents are used in the show to connote hierarchy. The villains speak with a pronounced Cockney accent whilst DCI Haskins speaks with a RP accent. Dialogue also suggests rank within the series
• Complying with the genre conventions, the Sweeney follows a linear structure and each episode focuses on a different crime with the narrative arc coming from the relationships between the characters.
• Complying with the genre conventions, binary opposites function as a narrative element. In The Sweeney, this includes good vs evil, hero vs villain, police criminals and detectives vs police authority.
• Complying with genre conventions, a set of recognisable character types includes a hierarchy of the boss, Haskin, the detective, Regan, and the sidekick, Carter. There is also a hierachy within the criminal group: Frank Kemble as the boss, Dave Brooker as his sidekick with Billy and Stupid Hawes as subordinate to both
• Settings and locations establish realism, such as the police station, Jenny's house, and a range of locations outside London.
• Iconography is related to the genre or character. For example, Kemble's house with elements of luxury and his framing in the leather chair behind a desk suggests power over the others and class divide between him and the other gang members. His position is further reinforced by the fact he smokes a pipe, not cigarettes, and has a more refined accent.
• Iconography is also used with the guns reflecting the narrative focus of several of the episodes on armed robbery or raids. The cars belonging to the 'Flying Squad' become iconic with connotations of chases and action.
• The Sweeney is a character-driven narrative which suggests that characters influence a narrative and communicate meaning through cause and effect, the narrative progresses as a result of their actions.
• The characters all have motives that are revealed during the story arc and the narrative, according to Propp, is driven by the need to achieve their goals.
• According to Propp , there are some narrative roles we can apply; Regan and Carter are the heroes in that they solve crimes and arrest criminals. But Regan is also an anti-hero as he is flawed- he drinks, smokes and challenges authority. He is seen as a bad influence on Carter but although they may use tactics to elicit information it is clear they are ultimately the 'good guys’
• The villains are established from the opening sequence. They are violent, hardened criminals who are used to getting what they want through violence and intimidation
• There are a range of sidekicks in The Sweeney. Carter is Regans's partner, Kemble's sidekick is Booker, and Billy has Stupid Hawes. They all have a clear role and advance the narrative in some way (e.g Carter covering Regan and showing him loyalty rather than Haskins)
• Jenny is the princess/damsel in distress, she is seen in the opening scene and is threatened by the gangsters.
• Despite repeating common conventions of a crime genre, The Sweeney also introduces grittier elements including violence and action to appeal to the audience.