No Offence CSP

• The economic context can be explored through patterns of ownership and production and how the product is marketed nationally and globally.
• No Offence is a mainstream television series that intertwines the codes and conventions of the police procedural crime drama with aspects of social realism.
• Mise-en-scene analysis of No Offence includes costume, lighting, and semiotics.
• Dinah, the protagonist of No Offence, is first seen wearing pink, which signifies her as a girly, stereotypical feminine figure.
• In the second scene, Dinah is dressed very formally, presenting her as a more serious person.
• All the women in No Offence are covered up, signifying their respectability.
• Lighting in No Offence often signifies danger, as seen in the chase scene, the scene where they find the girl in the river, and the scene where Dinah is having a tough morning at work.
• Semiotics in No Offence involves how images signify cultural meanings, such as caution tape, siren signifying danger, office wear signifying serious and dedication, leather jacket signifying rule breaker, and cake splat signifying guy run over.
• No Offence appears to use Propp, Todorov and a multi-stranded narrative techniques to engage the audience.
• Dinah is the clear hero of No Offence, and the audience automatically side with her and relate to her problems.
• The damsel in distress in No Offence is found at the end of the episode, and the audience favors the hero even more as she looked after someone as innocent as the damsel.
• In the new equilibrium of No Offence, Dinah is back to being her rogue self as she inappropriately goes against her boss to get the damsel to stay with her.
• Numerous narrative conventions of crime drama are used in No Offence to intrigue the audience and give them some knowledge so they could presume outcomes.
• No Offence is based in a city, so the audience assume that there's high crime rate which is shown through the multi dilemmas shown in episode 1.
• The title of No Offence is a police term, showing that they don't stray away from the police procedural during this series.
• The types of characters in No Offence make it easy for the audience to assume outcomes such as head police officer and standard police officers also criminals.
• No Offence follows a multi strand structure where there is multiple ongoing stories which gives the audience a lot of entertainment.
• In the equilibrium of No Offence, Dinah is having a tough morning at work and is presented as a bit of a rogue rule breaker from her previous night.
• The disruption in No Offence is when Dinah realises that there may be a problem with a certain case of missing down syndrome people.
• The recognition in No Offence is when Dinah realises that there is a man after down syndrome people and she investigates it.
• The attempt to repair in No Offence is when Dinah saves the girl from the river who is no actually got down syndrome and the new equilibrium is Dinah getting into trouble again and being up to no good.
• No Offence consists of dominant female characters; the boss Dinah and the innocent officer.
• Neale suggests that genre is instances of repetition and difference.
• In media language, the use of different formal structures to position the audience to receive and interpret meaning is central, while the study of representations has at its heart the reinforcement of social and cultural values for audiences.
• No Offence can be studied in the context of Channel 4's commitment to be innovative and distinctive.
• No Offence is an AbbotVision production, an independent company founded by the writer Paul Abbot who also wrote Shameless.
• The Manchester police force is used as a microcosm of society through which to examine changing gender roles, the focus of the case which features children and adults with Down's syndrome examines the position of people with disabilities in the wider society.
• They use audience alignment as the camera follows Dinah's life throughout the episode.
• No Offence positively subverts stereotypes to show that girls can be in charge and work hard just like men as they have a female boss and the introverted and insecure worker got a promotion.
• The study of institutions is indivisibly linked to the need to define and attract specific audiences.
• Hall reception theory of encoding and decoding.
• The advertising campaigns for the series demonstrate how media producers target, attract and potentially construct audiences.
• No Offence was broadcast on Channel 4, can still be accessed on All4, it was also broadcast in France.
• No Offence was a critical and commercial success in the UK, it was also a ratings success in France where it was shown on the national broadcast channel, France2.
• In No Offence they use social realism and therefore it is quite realistic which could be relatable to real life.
• Issues of audience are relevant throughout the other theoretical frameworks.
• The audience may feel like the crime is more realistic than said which creates more awareness.
• The way in which different audience interpretations reflect social, cultural and historical circumstances is evident in the analysis of No Offence which is explicitly linked to contemporary issues.
• The female boss in No Offence is not that feminine as she says inappropriate things and is also seen cleansing herself not in a lady like way.
• Gerbner suggests that the more time people spend living in the television world, the more likely they are to believe social reality aligns with reality portrayed on tv.