Detective investigations: the best TV projects about real crimes. Coursework - Crime journalism on television - file n1.doc
n1.doc
Coursework “Crime journalism on television (using the example of the programs “Man and the Law” and “Patrol Station”).”Content
Introduction………………………………………………………………………………… p.2
Chapter I. Crime programs on federal and local television……………………………………………………………………………….p.4
Crime on television: informational, entertaining and analytical programs……………………………………………………….p.4
Investigation in crime journalism………………….p.6
Conclusion to the chapter………………………………………….p.15
2.1. Program “Man and the Law”…………………………………p.17
2.2. Program “Patrol Station”………………………………p.25
2.3. Conclusion to the chapter……………………………………………………………..p.28
Conclusion……………………………………………………………...p.30
References……………………………………………………p.32
Introduction
Criminal issues are of great interest to the population of the country. “According to a survey conducted by the All-Russian Research Institute of the Ministry of Internal Affairs of Russia in April 2000 among 133 journalists from a number of regions of Russia, information on legal topics is present in 63.9% of cases in every issue of Russian newspapers, airtime of television and radio companies that touch on law enforcement topics in their publications . Special meaning given to information that may cause great public resonance. Since 1999, violence and crime have been the main semiotic resource of Russian television. We see how TV today develops the topic of crime. “Criminal Russia”, “Duty Unit”, “Crime”, “Honest Detective”, “Man and the Law”, “Top Secret”, “Emergency” - dozens of programs a week. Television is expanding the “criminal niche” because these products sell well to advertisers,” 1 writes I. Sukhoveeva in her study of crime programs.
Although last years The focus of viewer interest has gradually shifted towards entertainment programs and shows on television; the ratings of crime programs, especially on the largest federal television channels, remain traditionally high. About two dozen crime programs are regularly aired on local and federal television channels. On weekdays, crime programs are so arranged on the broadcast schedule of three TV channels that, starting in the morning, you can watch only crime programs on TV all day until night, switching channels. In the morning and afternoon - crime news releases, in the late afternoon - court shows, in the evening - criminal analytical programs and investigations. On weekends, crime programs usually air in the evening during prime time and feature high-profile investigations. In order not to reduce the rating, crime programs are placed on the broadcast schedule in such a way as not to overlap with their counterparts on competitive channels.
All this suggests that the criminal direction occupies an important place in journalism and therefore is subject to detailed consideration and analysis. We found it most interesting to analyze crime journalism using the example of the programs “Man and the Law” (Channel One) and “Patrol Station” (OblTV).
The goal of the course work was to consider crime journalism on television. Accordingly, the topic of this work is “Crime journalism on television (using the example of the programs “Man and the Law” and “Patrol Station”).” Based on the goal, the following work tasks were formulated:
1) consider crime journalism and its features;
2) analyze an investigation on a criminal topic as a type of journalistic activity;
3) consider the “Man and the Law” and “Patrol Station” programs;
4) conduct a comparative analysis of these programs.
The object of the study was the criminal direction in journalism. The subject of the study is the “Man and the Law” and “Patrol Station” programs as phenomena of crime journalism.
Coursework is based on textbooks, publications in periodicals and Internet sources.
ChapterI. Crime programs on federal and local television
Crime on television: informational, entertaining and analytical programs
Let's define the concept of crime journalism. Crime journalism is a direction in journalism, the subject of which is crimes, offenses and emergency incidents (for example, a car accident). The following phenomena most often fall into the field of view of modern crime journalism:
1) cases of corruption;
2) political crimes;
3) economic crimes;
4) environmental crimes;
5) social and domestic crimes;
7) high-profile crimes of past years.
The goals in crime journalism can be pursued differently. First of all, the main goal is to inform about any crimes, offenses, emergency situations. Another goal is to warn viewers so that, for example, they do not fall into the clutches of scammers, or follow road safety rules. The third goal can be considered the moral education of the audience: crime programs tell that criminals in most cases sadly end their lives: they either die or end up in a colony; show that drug addicts are sick people whose lives cannot be envied; talk about prostitutes and sexual slavery. Fortunately for many young girls, crime shows, unlike many romantic films and TV series, tell truthfully about the “second oldest” profession and its horrors, thereby discouraging young ladies from making a living with their bodies. The fourth goal is to attract public attention to a particular problem or crime, the desire to cause a public outcry. The fifth goal is to help law enforcement agencies find or identify criminals, lost people, or wanted by relatives. There are other goals in crime journalism that are much less noble. This is to entertain the audience, increase ratings, and, consequently, increase media income. Such goals are usually pursued by so-called “yellow” and “yellowish” journalism.
Russian television widely covers crime topics: about two dozen crime programs are regularly aired on local and federal television channels. The viewer can find out news from the world of crime in every detail, both from all over Russia and from his home region. Crime programs are extremely diverse in their genres - operational chronicles, court talk shows, analytical programs, investigative journalism, reconstruction films, historical documentary programs.
It should be noted that the bulk of crime programs is occupied by information programs, as well as documentary filming of actions and operations carried out, for example, by the police. These include: “News. Duty department" ("Russia"), "Review. Emergency" (NTV), "Patrol Station" (OTV), "Rescue Service "Sova". Crime Chronicles" (Channel 4) and others. Unfortunately, the share of journalistic investigations (that is, such investigations that were carried out by journalists, and not a story about the investigative actions of law enforcement agencies), and analytical crime programs is still very small. Among such programs are “Man and the Law” (“Channel One”), “Honest Detective” (“Russia”) and others.
Judicial talk shows that feature actors instead of real people have become very popular. characters, but, according to the authors of the program, the plots of such programs are based on real events. The educational value of judicial talk shows is questionable, since their scripts are often written by people who have little knowledge of the jurisdiction. These programs can be classified as entertainment. They are on most federal television channels: “Federal Judge” (“Channel One”), “The Court is Coming” (RTR), “Family Matters with Elena Dmitrieva” (“41-Home”), “Court Hour with Pavel Astakhov” (REN -TV) and others.
A special segment of crime programs consists of crime historical documentary programs. They tell about high-profile crimes of past years. Such programs contain both elements inherent in informational and analytical crime programs (interviews with internal affairs officers, criminals, victims, relatives of crime victims, etc.) and components inherent in films (filming with actors, documentaries of past years ). Historical crime programs include “The Investigation Conducted...” (NTV).
Crime reconstruction films, as a rule, do not air regularly. Usually they are timed to commemorate some sad event - for example, they tell about terrorist act, during which a significant number of people died.
Thus, the entire range of types of crime programs is presented on Russian television.
1.2. Investigation in crime journalism
Investigative journalism is a separate direction in journalistic activity that intersects with criminal journalism. Own investigation is the “queen” of crime journalism, the most difficult and dangerous type of activity in the media. Maybe that’s why, both on television and in the press, you don’t often see real investigations by journalists on criminal topics. As mentioned above, a much larger volume of programs and materials is devoted to crime chronicles or stories about investigations conducted by internal affairs agencies.
What is the difference between regular crime journalism and investigative crime journalism? The subject of journalistic investigation is primarily various types of crimes, incidents, conflicts, the existence of which someone is trying to hide from society , historical and other (except for state and military) secrets. This is precisely the uniqueness of the subject of investigation, its difference, for example, from the subject of display information program on a crime topic. The latter also talks about crimes, incidents, secrets, but already about those discovered by someone , famous. The main goal of investigative journalism is “the need to establish the true causes of certain events, processes, situations (for a Russian investigative journalist these are primarily negative phenomena); detecting the secret springs of the phenomena under investigation or revealing the vicious mechanism of committing a crime, exposing the criminals. An investigation can be carried out with the aim of achieving some political or economic result, for example, exposing the activities of an extremist political organization, identifying facts of abuse of official position, removing a corrupt official from a ministerial position, depriving a schemer of parliamentary immunity and bringing him to trial, returning looted capital to the country, etc. » 2.
The remaining goals of investigative journalism are similar to those of crime journalism. For example, such a goal as the moral education of the audience, since any investigation contains a moral generalization arising from examples of exposing any crimes. It must be said that investigative journalism can also be specifically devoted to identifying moral transgressions or “extracting” moral meaning from an event. Just as crime and investigative journalism warns the audience against making mistakes that could lead to catastrophic consequences, it attracts public attention to certain problems and crimes. And in the same way, the goal of many investigative programs is to entertain the audience, increase the rating of the TV channel, and, accordingly, collect money from advertisers (such goals, in our opinion, are pursued by the programs “Program Maximum” and “Russian Sensations” on NTV, “S.S.S. R. (Rumors. Scandals. Sensations. Investigations)" on Ren-TV).
Let's take a closer look at the technology of investigative journalism. The subject that a journalist has to deal with can be classified into one of the three groups given below, which predetermines the features of the investigation associated with it 3 .
1. Unsolved cases, incomprehensible incidents, high-profile crimes when the criminal is not found, and the questions are why? How? and no one like them can give a clear answer. For example, the murder of Artem Borovik - here no one can answer the question of who the killer is. But in this case it is easier to work, because there are many people interested in the riddle being solved. A journalist can count on the help of official structures, which, if they reach a dead end, will be able to provide the journalist with necessary materials and assist in the investigation.
2. Solved cases that raise some doubts in the journalist’s mind. Answers to the questions: why? How? Who? and so on - it already exists, there is a generally accepted opinion, and the journalist questions this opinion and begins his own investigation. For example, according to the generally accepted official point of view, the remains of the family of Nicholas II were found and buried in St. Petersburg. And suddenly the journalist questions this fact and tries to prove that in fact this family was not killed at all or buried in another place, because there were no remains left. Another example: six of Kholodov’s killers have already been arrested, the case is about to be closed, and the journalist suddenly questions this fact and begins his own investigation. Things may be forgotten by time: Lenin's death, palace coups, etc. It is very difficult to work in such a situation, because you cannot count on help from official structures: after all, the journalist, in essence, wants to prove that they are wrong. On the contrary, often the journalist has some problems with official structures, which interferes with the investigation. In such conditions it is difficult to obtain the necessary information.
3. Unstarted cases and hidden crimes. In this case, the journalist must not only identify the perpetrators and solve the crime, but also prove its essence. If in the first two cases the atrocities were obvious, then here it is still necessary to identify the fact of the crime itself, and then look for the perpetrators. Of course, doing this kind of investigation is a responsible and complex matter. In the above two cases there is a fact - crime committed, and this can be used in the process of searching for information: the journalist has a specific reason, he can refer to it and get the necessary information. Here there is no such fact, and the reason why the journalist began the investigation often has to be hidden.
Whatever type the subject of the future investigation may be, in any case it will not be investigated without initiative and effort on the part of the journalist himself. Only working with multiple sources of information - people, documents, personal observation of events - helps ensure that the necessary facts and materials come to the surface. The search for a subject of investigation should always be expedient, that is, predetermined by the purpose of the speech, which, in turn, should pursue the need to satisfy some current social need.
The famous American journalist John Roberts, former editor of the Philadelphia Inquirer, one of the most famous investigative newspapers in the United States, noted that the purpose of investigative journalism is “not to catch a politician with his pants down or to identify a particular violation of the law, but It's about getting to the bottom of the facts to help the reader understand what's going on in our increasingly complex world." .
When conducting an investigation, a journalist must constantly keep in mind the boundaries of his subject. The fact is that almost always during serious investigations many additional facts are revealed. Let's say it turns out that the "oligarch" not only embezzled state funds, but is also a pedophile. In this case, you need to force yourself to focus on one side of your “hero’s” life, leaving the other for the competent authorities or the next investigation. For example, to promote the machinations that made it possible to rob the state, since this is the most important aspect of its “activity” for society. If, when preparing a publication, the investigator gets carried away with finding out the details of sexual pathology, then unnecessary facts can slow down the progress of the case on the main issue, and the lost time can be used by the schemer to cover his tracks. In addition, too close attention to the personal life of the “object” of the investigation may cause readers of the publication to think that the journalist is settling some personal scores. Against this “backdrop,” the essence of the entire investigation may be perceived inadequately.
Most journalistic materials that look like investigations are not. Report about terrible accident on the road or a story about the results of police investigative measures for an attack on a collector - this is not an investigation. In the examples given, neither the accident nor the attack on the collector and those responsible were hidden from society. This means that there was simply no subject for journalistic investigation: journalists only describe or analyze the events that they know, that they observe, that they were told about. If in the second case the journalist doubted the correctness of the police’s conclusions and began to dig to the bottom of the truth, then this could be classified as investigative journalism.
Quite often, investigative journalism is mistaken for something that is not. Especially if the story is published under the proud heading “Investigation”, but in fact the journalist only used the results of an investigation carried out by someone - mainly law enforcement agencies. If this is “compromising evidence” on someone, in particular, on the eve of local elections, then this is the result of an investigation into the competitors of those accused in the material. In professional language, such publications are called “leaks”. Thus, in the popular consciousness, the results of investigative (investigative) actions of some persons, bodies, institutions carrying out, for example, law enforcement or expert activity, but are by no means journalists.
1) The lack of indications in the text about exactly how the author managed to obtain the published information.
2) The exceptional difficulty of accessing information, which becomes clear from its content and where it could presumably be stored or circulated (for example, if the text publishes an interception of information transmitted through government communications channels, then there is no doubt that it was received by the intelligence services, but not by the journalist himself).
3) The text usually lacks elements of dialogue, conversation, or an interview of a journalist with any of the characters (according to the text) 4.
If a journalist gets leaked, he must figure out what his true goal is. And then decide how to use the information. Everyone makes this decision in their own way. There are those who, for the sake of sensation, are ready to dump on the average person the most scandalous details that are not even related to the essence of the matter. The concern of a serious journalist is to identify a socially significant piece of information and bring it to the reader, without allowing himself to be manipulated for purposes unknown to him.
What are the signs of your own investigative journalism on television? Let's try to figure it out. If we are talking about original investigative crime programs dedicated to crimes committed relatively recently, then the following features can be distinguished:
A comprehensive study of the phenomenon, interviews with all participants in the process, or, in any case, a demonstration of an attempt to conduct an interview if it is not possible to provide a full-fledged commentary on one of the parties (a journalist in the frame is trying to get through to the respondent or talking through a closed door, etc.). The correspondent interviews the victims, their relatives, neighbors, friends, study or work colleagues; from criminals, their relatives, neighbors, acquaintances; from law enforcement officials involved in the investigation of this crime; from experts in a particular field; other people who can provide interesting and truthful information on this case. That is, the plot gives the maximum full picture what happened.
Filming with a “hidden camera”, without this it is impossible to conduct your own investigation.
Throughout the story, you can see how the journalist collected information, what conclusions he made at certain stages, and how he came to the final conclusions. Thus, the viewer seems to become an “accomplice” of the investigation; it is clear to him on the basis of which the correspondent made this or that conclusion.
Both theorists and practitioners of journalism raise such issues as the safety of a forensic journalist. There may be threats in the professional activities of journalists who deal with other topics, but due to the specifics of their work, crime journalists are more susceptible to dangers. This problem is especially acute for investigative reporters. Entire sections in textbooks on investigative journalism are devoted to the issue of security: Tertychny A.A. Investigative journalism; Wallman J. Investigative journalism: modern methods and techniques; Shum Yu. Journalistic investigation: guidelines; Journalistic investigation/Under general. ed. HELL. Konstantinova and others.
In his material “Criminal Profession,” journalist Mikhail Kovalev talks about the “kitchen” of crime journalism, about the difficult everyday life of crime correspondents. Being a reporter for a crime program means not only sensations, fame, success in the profession, but also difficult routine work in obtaining information, threats, injuries and bruises after a beating, and sometimes even death.
Mikhail Kovalev writes: “There are “unpleasant” specializations in journalism. This includes crime journalism. It is unpleasant because you have to work at the intersection of two very problematic social groups - crime and the police. Journalists, which is understandable, are not favored in either one or the other. Law enforcement agencies do not need an arbitrator in the person of a journalist, or rather, an ordinary taxpayer. Once upon a time film crew NTV was attacked (everything was just so brutal) by the personal guards of the former head of the FSO, Mikhail Barsukov. The editor-in-chief of the crime editorial office, Vladimir Zolotnitsky, and his cameraman had to hide in the car. The guards “densed” the car as best they could, the most powerful of them, in a fit of rage, tore off the license plate and rolled it into a tube with his fingers (!). The cameraman filmed everything, the footage went on air, and a criminal case was initiated. Its result is rare case, when the journalist received compensation for material damage - $2,000” 5. This is an exceptional event when it was possible not only to prove the fact of the attack, but also to obtain compensation for the harm caused. “Bruises, broken cameras - everyday life of crime journalism. It’s mostly personal guards who are going on a rampage,” 6 writes Mikhail Kovalev.
But the threat of violence is not the only challenge in being a crime journalist. As a rule, it is very difficult for him to obtain the necessary information, since there are persons (often very influential) who do not benefit from the reporter getting to the bottom of the truth. Therefore, the investigative journalist is faced with various obstacles, denied interviews and necessary documents. Often officials demand a lot of money for information.
“More often, relationships with law enforcement agencies are built on the principle: no peace, no war,” says Mikhail Kovalev. - It is sometimes extremely difficult to obtain information even from press services - structures created specifically for these purposes. You have to pay for information, especially in the provinces, where media attention is not so intense. The average price for a story is $50. Moreover, you need to “make friends” with these people: have a drink, have a snack, have a good conversation. The proven principle will not change, even if the “go-ahead” for cooperation was received from the general.” 7
Nevertheless, many journalists choose criminal investigative journalism as their specialization: it is paid an order of magnitude higher than other activities in other areas of journalism, investigative publications and stories are always in the center of public attention and attract an audience.
Conclusion to the chapter
So, the subject of crime journalism is crimes, offenses and emergencies. The goals of this type of journalistic activity are to inform about any crimes, offenses, emergency situations (crime news); warning to spectators; moral education of the audience; assistance in searching and identifying criminals, searching for missing people; attracting public attention to a particular problem or crime; entertaining the audience; increasing the ratings and profits of the media. Russian television presents the entire range of types of crime programs: operational chronicles, court talk shows, analytical programs, journalistic investigations, reconstruction films, historical documentary programs.
The “queen” of crime journalism is investigative reporting. This type of journalistic activity is very complex and has its own specifics: you need to be able to “dig”, obtain information, and also be able to behave in a critical situation, and know safety precautions.
ChapterII. The “Man and the Law” and “Patrol Station” programs as phenomena of crime journalism
2.1. Program "Man and the Law"
The program “Man and the Law” has been broadcast on Channel One (formerly ORT, TsT) in the country for 35 years. Alexey Pimanov has been hosting the program since 1996. “The main topics are the fight against organized crime, investigations into corruption in the highest echelons of power, criminal stories... The program tries to give a balanced assessment the most important events in political, economic and social life country, illuminates a huge range of issues and problems that a person has to face every day, not only from a legal point of view, but also from the standpoint of universal morality (let us note in parentheses that we are not talking about the “shamanistic morality” of Soviet times that has been imposed in the teeth the “demagogic verbiage” that sets one’s teeth on edge, and above all about the fundamental values of human coexistence, of which there are not so many left in the modern world). That is why “Man and the Law,” focusing on the average viewer, constantly monitors the fate of its constant hero – an ordinary person, caught in the pincers of injustice and lawlessness,” says the official website of Channel One 8. This is where the genre of the program is defined – socio-political journalistic. We classify the “Man and the Law” program, according to the classification given in the first chapter, paragraph 1.1., as criminal analytical programs. Although the presenter Alexey Pimanov himself disavows the definition of his program as a criminal one: “However, I am still against the program “Man and the Law” being called criminal. Showing corpses, flashing police sirens in the frame and bloody scenes created with the marginalized in mind are not our job” 9 . However, regular viewing of the program “Man and the Law” (during March-April 2008) reveals that the topics of all plots are related to any crimes or offenses, which means that the program can one hundred percent be classified as criminal. Perhaps, with his statement, Alexey Pimanov wanted to distance himself from the so-called “yellow” crime journalism. In this case, the presenter can be supported - the program really claims to be a serious analytical program.
The thematic focus of the “Man and the Law” program, its concept, as well as the image in the minds of television viewers is largely determined by the host Alexey Pimanov. There is no doubt that he has not only the high professionalism of a television journalist who knows how to make a high-quality television program, but also the charisma and charm of a TV presenter, which is also important for the success of any program. How did the formation of such a talented TV journalist and TV presenter go?
Alexey Pimanov was born on February 9, 1962. In 1989 he graduated from the Moscow Academy of Communications, in 1992 - the Faculty of Journalism of Moscow State University. Lomonosov. He has been working in television since 1986: until 1989 he worked as a video engineer at TTC and as a cameraman. In 1989, he moved to the editorial office of socio-political programs of the Central Television. In 1989-90, Alexey Pimanov was the host of the “Steps” program, in 1990-91 he was a special correspondent for TV TV “ViD”, in 1992-94 he was the author, presenter and director of the program “Behind the Kremlin Wall”, in 1993-94 he was studio director. “Resonance” at the Ostankino shopping and entertainment complex, in 1995-97 - producer of the programs “Seven Days of Sports”, “Football Review”, “Sports News” and “Man and the Law”. Since 1996, Alexey Pimanov has been the general director of the Ostankino shopping mall and the host of the “Man and the Law” program. In 1997, ORT proposed to revive the “Health” program.
Currently, Alexey Pimanov is the general director of the Ostankino TV channel, the author and presenter of the programs “Man and the Law” and “Kremlin, 9”, and also produces 12 television programs created by his television company: “Man and the Law”, “Lubyanka”, “Kremlin” , 9”, “Idols”, “Shock Force”, “Health”, “Army Store”, “Emergency Call”, “Secrets of the Century”, the “Documentary Detective” series, “Russian Special Forces” and “Tasty Stories”. He is the author and director of more than 20 documentaries, and a candidate master of sports in football. His hobbies: political science, history and sports. He plays hockey and tennis. Alexey’s wife is Valentina Pimanova, author and host of the “Idols” program.
Previously, the “Man and the Law” program was a kind of legal ambulance that helped television viewers understand the intricacies of domestic legislation. Under the leadership of Alexey Pimanov, the program took a completely different path. Here's how he explains what it's all about: « The time, the situation, and the television market have changed. Legal assistance in pure form may go out, say, at three o'clock in the afternoon, when some lawyer will give advice to grandparents. But at 22.40, like ours, when other channels broadcast good quality series and entertainment programs, so that the rating is not 0.3, but 10, we need to broadcast exactly what we are doing now. That is, only hard journalistic investigations” 10. Thus, Alexey Pimanov also showed himself as a talented producer.
Alexey Pimanov is often accused of having a “pro-Kremlin” point of view and having connections with the FSB. For example, in April 2004, Radio Liberty aired a program sharply criticizing the program “Man and the Law” and its presenter. Here is a quote from that broadcast: “This is not the first time that the country’s First Channel has provided the FSB with a friendly service. Two and a half years ago, counterintelligence officers asked for help to publicly expose journalist Grigory Pasko. Because the public did not really believe that Pasko was a true spy.
And the program “Man and the Law” coped with its task, carefully stylizing the plot as a spy chronicle. There was alarming music, there were shots of rockets taking off and cruisers plowing the oceans, there were even actors involved in staged scenes on the topic of how Pasko conveyed information. When the verdict against Igor Sutyagin was announced, I assumed in advance that “Man and the Law” would again be released with a revealing plot. Because this verdict also raised doubts in society. But the FSB doesn’t want any doubts. Therefore, I again called the journalists of Channel One under my banner... Looking ahead, I will say that the authors of Channel One did not at all set out to analyze the indictment. They only selected the most lethal “fragments” from the case materials, which were intended to colorfully confirm that Sutyagin was a malicious spy, and not at all an innocent, well-read lamb.” 11 The program ends with the words: “In this field - justifying the infliction of evil - Alexey Pimanov, I repeat, is not the first time. And it performs really, successfully. I don’t remember what the rating of the program about Grigory Pasko was, but “Sutyaginsky” is truly crazy. In Moscow it was 10.4 percent. That is, every tenth viewer watched this program. I looked and probably believed it. The “Man and the Law” program cannot be denied the skill in creating such stories” 12.
This is how Alexey Pimanov responds to accusations that he is dependent on the Kremlin and the FSB: “I have an independent company, I can release the program “Man and the Law” both on “First” and “Russia”, on other channels. If I find out that someone in Kasyanov’s government is taking money, believe me, I will tell you about it, despite the fact that the channel, in your opinion, is pro-government. But if the government is taking steps that I support, then why not talk about that too? It seems to me that the time of stupid opposition journalism has long passed” 13. He adds: “Naturally, our program has connections in structures that have certain information: the prosecutor’s office, the government, the Kremlin, the FSB, the Ministry of Internal Affairs and so on. But it is not they who call us and offer us something, but, on the contrary, we pester them with calls, we ourselves beg them for materials, sometimes holding them by the throat, threatening them with the Law on the Mass Media. But I will not hide the fact that we have very good relationships with many of them, developed over the years. But this perception of the special services as enemies of the people, who only think about how to “leak” information, how to strangle everyone around them, make a coup in the country, and put all journalists in jail, I would have long since withdrawn from circulation. This perception is fundamentally outdated. ... When we understand that some structure is trying to “leak” something to us, we simply refuse to use the material in the program” 14.
Alexey Pimanov often admits in interviews that he is often threatened: “Endless threats over the phone are commonplace. You go to a not very good place for a week or two good condition. Then it is forgotten. And one day they unscrewed the spark plugs from the car, closed the hood, put them on top and wrote a note: “Be careful when turning.” This was when we were working on materials about money laundering, for the first time at the Kremlin level. And about the fake advice note. Do you remember this high-profile case? When making a story about money leaving the country, we named the Minister of Foreign Relations. He was then arrested." 15
The program “Man and the Law” is broadcast every Thursday, excluding holidays, at 22.30. This is evening prime time, which certainly affects the success of the program. The duration of the program without advertising blocks is 40 minutes. On average, there are 4 videos per program. The Channel One website says that “Alexey Pimanov likes to invite guests to the studio of the “Man and the Law” program. These are the main newsmakers of the week, politicians, representatives of security forces and law enforcement agencies, famous journalists with their not always “convenient” investigations, VIPs known throughout the country who, through no fault of their own, found themselves in a major mess (whether it be incorrectly issued copyrights, protection honor and dignity or caused by an accident).” But this happens very rarely.
The program is positioned as an investigative one, but its own investigations make up only one or two of all the plots of one issue. The rest is operational footage and results of investigations by internal affairs bodies; research into any phenomenon related to the violation of the law (for example, about fans who harm their idols); a detailed account of a crime or offense or an error judicial system, from which people suffered. For example, in the April 24 issue last story was dedicated to a man from Alapaevsk, who was unfairly accused of murdering a girl, and had to serve 5 years. The hero of the plot turned out to be a stubborn man and achieved his release. A new trial found him not guilty “due to insufficient evidence.” This story is not an investigation, since journalists are not trying to identify real reasons arrest an undeservedly accused man, get on the trail of the real criminal. The authors of the story are simply stating the facts: they convicted an innocent person, ruined his life and did not even apologize.
The structure of the program is as follows: before each story there is a lead-in by the presenter, which attracts the attention of the audience and creates the effect of heightened anticipation. Next is the plot itself. When it ends, the presenter gives a rather scathing commentary on his own behalf each time. After this there is usually an advertising block.
Detective genre firmly took his place special place, both in literature and on television screens. Crime stories about crimes have always attracted attention with their exciting plot, from which it is impossible to tear yourself away until the attacker is found and the mysterious case is solved
The detective genre has firmly taken its special place, both in literature and on television screens. Crime stories about crimes have always attracted attention with their exciting plot, from which it is impossible to tear yourself away until the attacker is found and the mysterious case is solved.
High-profile historical events and crime dramas of one person, based on true events, especially attract unfading audience interest. Indeed, the most exciting scenario can only be offered by life itself. Such documentary television projects telling about criminal incidents, mysterious disappearances, mysterious murders are also available on Russian television. “TV Program” has compiled its rating of detective programs about real crimes and their investigations, broadcast on various channels.
“The investigation will show”, Channel One
The documentary series “The Investigation Will Show” is based on materials from real criminal cases. For the first time, the Investigative Committee of Russia is opening its archives. The events are reconstructed with the help of actors and direct participants. Host Vladimir Markin, head of the media relations department of the Investigative Committee of Russia, will “take” TV viewers into closed forensic laboratories, show unique recordings of operational filming and interrogations, and talk about the investigation of the most high-profile criminal cases, behind which stood specific people who made mistakes.
« Psychics are investigating,” TNT
The documentary project “Psychics Are Investigating” on TNT is one of the most unusual and controversial on Russian television. This project helps investigators investigate the most complicated and ambiguous crimes. Please contact this project ordinary people who lost relatives and friends, but the investigative authorities simply could not help them.
Photo: Zvezda TV channel A series of documentaries produced by the Zvezda TV channel talks about legendary Soviet criminologists and detectives and investigations of high-profile cases. Each episode of the project is a whole story with an exciting plot, but this plot is not far-fetched, but taken from real life. The voice-over text is read by Andrey Yaroslavtsev on behalf of a crime journalist, following the logic of the detectives who solved the crime.
"Man and the Law", Channel One
"Man and the Law" has been on the air since March 10, 1970. The author and presenter of the program, Alexey Pimanov, talks on air about the most important events in the political, economic and social life of the country. In addition, the emphasis of each issue is aimed at covering the activities of law enforcement agencies, investigative journalism and revelations. The main topics of the TV show are the fight against organized crime, investigations into corruption in the highest echelons of power, as well as crime stories.
“The investigation was carried out...” with Leonid Konevsky, NTV
These criminal cases thundered throughout Soviet Union. Novels have been written and filmed based on them. art films. Their defendants are millionaires of the socialist era, cunning thieves, professional robbers and currency traders. The host of the program is Honored Artist of Russia Leonid Kanevsky, the legendary Major Tomin from the popular series “The Investigation is Conducted by Experts” - not only talks about the crimes and criminals of the Soviet era, but shows a bygone era so that young viewers can feel the spirit of a bygone time, and older viewers - nostalgia for the past.
Projects of the ID Xtra channel
The ID Xtra channel, part of the Discovery Communications media holding, began broadcasting in Russia in 2014. All channel projects are Detective stories based on real events. Here are the investigations of crimes, fatal love stories, mysterious cases of disappearances, forensic mysteries, high-profile scandals associated with famous people and much more. In particular, one of the channel’s most popular projects is the program “Poisoned Passions,” which tells the stories of women and men who fall in love with the wrong person and learn the hard way that love is not always able to overcome any trials.
Introduction.
CHAPTER I. Historical and theoretical analysis of crime programs on domestic television.
1.1. Criminal law programs: prerequisites for their emergence and features of development on domestic TV.
1.2. Periods of development of criminal law programs on domestic television (1987-2000).
1.3. Formation of the concept of criminal law broadcasting (2000-2011).
CHAPTER II. Genre and thematic features of criminal legal television programs.
2.1. Criminal legal topics on TV: signs of program identification.
2.2. Formats and genre structure criminal legal programs.
2.3. Principles of programming: criminal law programs in the broadcast network of TV channels.
CHAPTER III. Problems of functioning of criminal law programs on modern television.
3.1. The impact of criminal and legal content on the viewing audience: sociocultural aspect.
3.2. The practice of regulating the content of television broadcasts: world experience and Russian reality.
3.3. “Crime coefficient” of programs on modern television in Russia.
Introduction of the dissertation (part of the abstract) on the topic "Criminal law programs on domestic television: evolution and current state"
The last three decades in history domestic television marked by serious transformations associated, first of all, with social, economic, and political changes in the life of the country. During this time, television, like other media, went through periods of glasnost, perestroika, demonopolization, decentralization, and commercialization. As a result, the role of communication rapidly increased, television companies were divided into program producers and broadcasters, the functions of television journalism were transformed, the Russian television space itself changed, and the production and broadcast of television programs began to be determined by the laws of market relations. The inevitable consequence of these processes was a decrease in the role of analytical, socio-political, cultural, educational and children's programs and the emergence of exclusively informational, entertainment and criminal law broadcasting to the fore.
As journalism researchers E.A. write. Kornilov and E.E. Kornilov, modern television broadcasting in Russia is filled with aggression. The dominance of murders, bloody “showdowns,” explosions and fights on the screen was an inevitable cost to freedom of speech. "After Russia collapsed" iron curtain", a stream of American and Western European action and horror films poured onto the country's television screens. Cartoons, reality shows and other programs exported to us containing acts of violence were only the first step in the development of ratings television in Russia." In pursuit of ratings, channels have been constantly increasing the number of programs containing criminal information over the past three decades. Today, the federal channels “Pervy”, “Russia-1” and NTV broadcast more than 40 such programs a week.
The problem of the negative impact of criminal television content on Russian society and, especially, on the younger generation, is currently particularly acute: today this mass media is the main source of information for most residents of the country, the degree of trust in which is extremely high, and also the most popular way of spending leisure time and entertainment. There is an active discussion in the government, society, on the pages of publications and on the Internet about the need to take measures that can stop the flow of violence and aggression from the television screen. One of the famous social analysts, Chief Editor magazine "Art of Cinema" D. Dondurei published in the "Rossiyskaya Gazeta" a manifesto "Man was forgotten, or Why modernization depends on culture." In his opinion, one of the most important problems modern Russia - the destructive impact of the media, especially television, which destroys the “cultural and ideological assets of the country.” The author calls television a “law enforcement agency,” which for years has been reproducing the code of life “by concept,” introducing prison slang into everyday life and broadcasting “a volume of television content unprecedented in world practice, dedicated to demonstrating all types of violence, scandals, and rumors.” [ibid]. Criminal law programs and TV series are increasingly spreading “the myth of the omnipotence of the criminal world, of crime as the only means of achieving justice and even just survival, of Russia as a country of criminals.” Thus, a corresponding image of our state is formed: a criminal, criminal community, where there is no place for humanistic relations. This creates an environment favorable for the development of corruption in government and law enforcement agencies, neglect to the law and devaluation human life, embitterment and bitterness, especially of the younger generation.
The current situation in the domestic TU, characterized by the presence of a vast area of criminal legal content, requires scientific understanding with reference to the history of the development of these programs and the introduction into scientific use of the corresponding term - “criminal legal program”. This indicates the importance of the emergence of appropriate research work. The present work was carried out in line with the scientific issues dictated by the time.
We should immediately clarify which television programs we call “criminal law”, since the introduction of this new term in the theory of journalism is associated with certain difficulties from the point of view of the Russian language due to the clash of two different meanings the words "criminal". The first meaning of the word is “criminal”, “criminal”, the second meaning is developed thanks to such terminological phrases that are widespread in journalism, such as “crime chronicle”, “criminal department of the newspaper”. It needs to be defined as “dedicated to crime,” “about crime.” The use of the adjective “criminal” for terminological purposes to designate the class of programs we are studying is based precisely on this tradition of use of this word in the field of journalistic theory and practice. The term we propose is used for programs related to the fight against crime, informing citizens about events related to the process of breaking the law, and presenting a legal assessment of the situations reproduced on the screen. The norms of the Russian language rather dictate the term “criminal-legal programs,” however, it runs counter to the established practice in television journalism of using short phrases such as “socio-political,” “cultural and educational programs,” which is reflected, in particular, and on the official websites of television companies. Therefore, taking into account already established trends in the theory and practice of modern journalism, we use the term “criminal law” program.
The relevance of this study is due to the need to study the content of television broadcasts with the recent expansion of criminal law programs characteristic of it and the corresponding change in the programming policy of channels in the perspective of the transformation of television starting from the mid-1980s. taking into account the influence on the air of political, ideological, economic features of each period. The relevance of the work is also connected with the urgent need to develop mechanisms for ethical and legal regulation of the process of creating and broadcasting programs on criminal legal topics.
The appeal of producers of television programs, films and series to criminal themes demonstrates not only sociocultural changes in society, but also a new round in the organization of creative processes. Understanding the transformation of the programming policy of television channels can be fruitful in predicting future changes in the field of television, and the study of a fairly new class of criminal law programs on Russian airwaves is relevant both for the theory of journalism and in general for the scientific understanding of modern trends in the television production process.
The degree of scientific development of the topic is characterized by the presence of works on certain aspects related to the problem as its theoretical prerequisites or cultural, moral and ethical issues related to the coverage of processes in the media in the era of political transformations that began in the country and with the formulation of the problem of legal regulation in the field of media .
So, R.P. Hovsepyan, G.V. Kuznetsov, G. Vachnadze, A.S. Vartanov, E.A. Kornilov, A.P. Korochensky, Yu.V. Luchinsky, A.I. Stanko examines the most important features of the functioning of domestic journalism in the conditions of the one-party state of the Soviet state and the beginning of democratic transformations during the transition period, and analyzes the role of the media in the diverse processes of the socio-political and economic life of the country at the turn of the century. The main stages of the formation of the media of perestroika and post-perestroika times are analyzed by I.I. Zasursky and Ya.N. Zasursky, V.V. Smirnov describes in detail the process of capitalization and the subsequent process of criminalization of the media.
The issue of typology of television genres was addressed by P.A. Boretsky, E.G. Bagirov, N.V. Vakurov and L.I. Moskovkin, L.G. Prokhorova, G.V. Kuznetsov, E.Ya. Dugin. The terminological problem of defining the concepts “format” and “genre”, their relationship, and the scope of features are being studied by scientists from the Faculty of Journalism of Moscow State University A.A. Tertychny, G.V. Lazutina, G.Ya. Solganik, T.I. Surikova, O.P. Lashchuk, A.G. Kachkaeva V.L. Zvik,
A.A. Novikova, I.N. Kemarskaya, V.A. Sukhareva.
The problems of the functioning of domestic television broadcasting in the context of modern media culture, the evolution of the financial, economic and program policy of Russian television, as well as the moral and ethical aspects of the development of new genres and formats of television broadcasting are covered by S.N. Ilchenko, H.H. Starobakhin. The sociocultural aspect of the problem is presented in the works of A.S. Zapesotsky and V.T. Tretyakov.
A number of authors present an analysis of the results of program research federal TV channels, the problems of the influence of television on the life of society and the individual and the problems of forming images through the television stream are raised. They examined detective and crime programs as an independent class of television products.
A comprehensive study by a group of authors: V.A. Koltsova,
B.A. Eliseeva, Yu.N. Oleynik, V.A. Pine. A socio-psychological analysis of the phenomenon of “aggressive television” is contained in the works of A.Yu. Drozdov. A. Sharikov writes about “television lessons on violence” that educate the younger generation. The legal aspects of media regulation and mechanisms for monitoring the activities of television broadcasting companies are worked out in detail in the works of N.I. Buslenko and A.G. Richter.
Several publications on individual aspects of the problem in scientific, specialized and popular science publications are devoted directly to the narrow topic of this dissertation. The conditions in which the media system found itself as a result of changes, issues of the appearance of criminal information on television, as well as the reasons for the popularity of crime-themed programs and series are reflected in a number of articles in the journals “Bulletin of Moscow University”, “Journalist”, as well as in “Rossiyskaya Gazeta” " And " Literary newspaper" and etc. .
The global Internet today is an important source of information that allows you to get acquainted with the history of the creation of individual criminal law programs and their conceptual settings, view archived recordings of programs, and also use data from the official websites of television companies. The network contains resources with excerpts from interviews with authors and presenters of crime-legal programs, television critics, as well as comments on them. In this regard, the website “Museum of Radio and Television”, the largest information cinematic portal “Encyclopedia” deserve special attention national cinema". The results of international and Russian media research are presented on the websites of the sociological service “Public Opinion Foundation”, All-Russian Center Public Opinion Studies "VTsIOM", TNS Gallup Media, etc.
A review of the literature allows us to note that a comprehensive study of criminal law television programs has not been undertaken until now. In the theory of journalism there is no generally accepted definition of this class of programs. Criminal law programs on television as a subject of scientific understanding in existing literature practically absent. Some authors consider only certain aspects of their functioning. Technologies of manipulative influence through the broadcast of criminal law programs represent a serious scientific and practical problem that requires comprehensive research.
The object of this study is criminal law television programs.
The subject of the study is the functional features of criminal law programs, their themes and issues, genre and artistic specifics, as well as the impact they have on the Russian audience.
The purpose of the work is comprehensive study criminal legal programs in historical, theoretical, classification and ethical and legal aspects.
The purpose of the work determines the formulation of the following research tasks:
1) consider the factors that contributed to the formation and development of criminal law broadcasting on domestic television since the late 1980s. Until now.
2) determine the stages of development of criminal law programs on the Russian television screen, highlight the characteristics characteristic of each stage, and present trends in the development of criminal topics in the near future.
3) introduce the concept of “criminal television program”, identify the signs, specifics and distinctive features of this type of program, determine their place and role in the broadcast policy of television channels.
4) present a format-genre classification of programs of the criminal-legal class, highlight the signs of their identification, consider the specifics of formats and genre originality modern criminal legal programs.
5) conduct a comparative analysis of criminal law projects broadcast today with predecessor programs, compare the features of the programming policies of specific TV channels, determine the principles of layout and programming in relation to criminal law projects.
6) highlight the factors of influence of criminal content on the viewership and its connection with sociocultural problems characteristic of Russian society.
7) consider experience various countries in matters of legal and ethical regulation of television broadcasting, compare the control measures they take with those implemented in Russia.
8) develop a system of measures to regulate the process of broadcasting criminal content on television based on assigning a “crime coefficient” to television products of this class.
The theoretical and methodological basis of the dissertation work was made up of fundamental domestic research in the field of history, theory and typology of journalism by such authors as E.V. Akhmadulin, Ya.N. Zasursky, S.G. Korkonosenko, E.P. Prokhorov, L.G. Svitich, V.L. Zwick, R.P. Hovsepyan, A.I. Akopov, E.A. Kornilov, A.A. Tertychny, V.V. Tulupov, A.A. Kolosov, M.I. Tsukanova, V.I. Sapunov, A.A. Bobryashov.
The empirical basis of the study is more than 40 criminal law programs of Russian television channels in the period from 1987 to 2011.
Depending on the specific tasks of empirical analysis, in order to identify the characteristic features and characteristics of criminal legal programs, various ways their study - from introductory viewing to systematic monitoring with elements of content analysis. The programs of three federal television channels were selected for the study: “Special Investigation”, “Man and the Law”, “Criminal Russia”, “Outside the Law”, “Federal Judge”, “Detectives” (TV channel “First”); programs: “Duty Unit”, “Road Patrol”, “Honest Detective”, “Special Correspondent”, “Court is Coming”, “Kulagin and Partners” (“Russia-1”); “Emergency”, “Reporter Profession”, “Crime in Art Nouveau Style”, “Russian Sensations”, “Investigation”, “Fight for Property”, “Jury Trial”, “Detectives”, “Especially Dangerous”, “ Sincere confession”, “Maximum Program”, “Dashing 90s”, “In a special risk zone”, “Before trial”, “Children. Stories of All-Russian Deception", "Punishment. Russian prison yesterday and today”, “Prosecutor’s check”, etc. (NTV).
Scientific novelty The work lies in the fact that it is the first to present a comprehensive study of criminal law programs as a separate class of television products in its historical and theoretical-classification aspect.
Chronological framework research is driven by the need to consider criminal law programs in historical development, therefore include the period from the late 1980s. Until now. Special attention devoted to criminal legal programs of the modern stage - from 2000 to 2011.
Research methodology. In relation to research in journalism E.A. Kornilov and E.E. Kornilov distinguishes several groups of methods used: 1) general scientific, abstract-logical (observation, experiment, analysis, synthesis, induction, deduction, etc.); 2) methods common to all humanities and applied taking into account the uniqueness of journalistic research; 3) specific, characteristic of historical and philological knowledge (comparative historical, retrospective, textual, genre-stylistic, etc.). The process of evolution of criminal content programs on Russian television made it possible to reveal and describe such methods of historical knowledge as historical-comparative, historical-typological and historical-systemic.
A comprehensive structuring of the research object would have been impossible without the theoretical-typological method of analysis, which was deeply worked out by scientists of the Rostov school of journalism A.I. Akopov and A.I. Stanko. The use of theoretical-typological and classification-typological methods made it possible to develop a classification structure of criminal law programs and to identify signs of their identification from the total number of television products.
The work also applies a systematic approach that allows us to consider criminal law programs, on the one hand, as a separate class with unity of characteristics, goals and functions, and on the other hand, as a unit in the structure of television broadcasting as a whole. Usage systematic approach made it possible to establish relationships and interdependencies between viewing criminal law programs and the consequences of their influence on the viewing audience when considering the process of the manipulative influence of television.
Solving problems and achieving goals were possible in the context of an integrated approach, involving a combination of different research methods, each of which provides additional explanatory resources. Among them are classification, typologization, analogy, comparison, as well as structural-functional, sociological and quantitative analysis.
The solution to a practical problem - the development of a system of measures to exercise control over the broadcast of criminal law programs, including the use of the “crime coefficient” - was carried out using specific methods of collecting empirical material: document analysis, content analysis, survey, participant observation, questionnaires.
The following provisions are submitted for defense:
1. At the end of the 1980s. In the 20th century, programs appeared and gained popularity on domestic television, which became prototypes of modern criminal law programs, which led to the rapid development of criminal law broadcasting, an increase in the volume of criminal information on television, as well as the targeted development of the niche of criminal journalism by individual TV channels.
2. Criminal law programs are an established class of television programs that have their own characteristics and distinctive features. The format-genre structure of this class of programs is constantly evolving, which creates certain difficulties in identifying formats and genres.
3. Criminal law programs are a highly rated television product, this allows TV channels to build a specific programming policy that ensures that viewers can watch criminal content around the clock without age restrictions.
4. Criminal legal programs have a destructive impact on the audience: they contribute to the destruction of cultural, family, and ideological values of Russian society; provoke the younger generation to aggressive behavior, cruelty and violence; create an image of Russia as a criminal state.
5. Modern Russian legislation in the field of media demonstrates its ineffectiveness in matters of control over the broadcast of criminal content.
6. An effective mechanism for monitoring the content of television broadcasts can be the determination of the “crime coefficient” of programs, films, series and other media products.
Theoretical significance The work is due to her contribution to the study of the history of domestic television, the processes of formation and development of criminal law programs on Russian television channels. In addition, the term “criminal television program” is introduced into scientific use, the corresponding class of television programs is identified, their classification is developed, the content and structural features these programs.
The practical significance of the work is determined by the presence in it of a developed system of signs for criminal law programs, which allows for their classification, theoretical-typological and historical-typological analyses. Proposals have been developed for a system of measures to regulate the broadcast of criminal legal content; individual conclusions can be applied to control the content of television broadcasts on modern stage. The results of the study can be used in courses on the history of journalism, theory of journalism, as well as for teaching the special course “Criminal Law Programs on Domestic Television.”
The sequence of problem solving determined the structure of the work, which consists of an introduction, three chapters, a conclusion, a list of references, and an appendix.
The Introduction substantiates the relevance and analyzes the degree of knowledge of the topic, defines the methodological and theoretical basis of the study, characterizes its novelty and practical significance. An analysis of scientific literature and sources is given, the object and subject of the research are determined, the provisions put forward for defense are formulated, and the results of testing are presented.
The first chapter, “Historical and theoretical analysis of programs with criminal content on domestic television,” examines the process of evolution from programs with criminal content to modern criminal legal programs, and examines the stages of formation and development of criminal topics on the air of Russian television channels. It also analyzes trends in the programming policy of television channels, describes the main directions of criminal law broadcasting and the features of covering criminal topics in various socio-political conditions over the past three decades. The chapter consists of three paragraphs.
In the second chapter, “Genre-thematic features of criminal law programs,” which also consists of three paragraphs, the object of research is defined, the characteristic features and typological features of programs are highlighted, and programs are classified in the whole variety of modern television formats and genres. The features of the placement of criminal projects in the broadcast network of the channels “First”, “Russia”, NTV are described, taking into account their genre, channel ideology, time rhythm, frequency of airing, rating, etc.
The third chapter, “Problems of the functioning of criminal law programs on modern television,” reflects the issues of the influence of criminal law programs on the Russian viewer, as well as problems of legislative and ethical regulation of the broadcast of programs modern television. Like the previous two, the third chapter contains three paragraphs. They summarize the problems of creating a culture of violence in modern society, an analysis of the mechanisms for controlling the content of television broadcasts in the world is carried out using the example of the USA, Canada, Great Britain, Germany, France, Japan and other countries, approaches and methods of regulation are compared, the problem is considered in the historical aspect of development. The study ends with paragraph 3.3. “Criminality coefficient of programs on modern television in Russia,” which proposes a list of mechanisms that make it possible to streamline the process of broadcasting criminal content on Russian air, taking into account the experience of other countries and the methodology proposed by the author of this work.
In conclusion, the main results of the work are summed up, the results of the study are summarized, and prospects for further studying the object of research and deepening the problem are outlined.
The bibliography includes 213 titles of scientific-theoretical, reference and journalistic literature, as well as Internet sources that the author consulted in the process of work.
The appendix presents the tools used for the study: a questionnaire, according to which a detailed study of the content of criminal law programs was carried out, as well as tables describing criminal law programs in the broadcast schedule of TV channels according to the broadcast schedule for the period from 2006 to 2011.
Approbation of research results. The main provisions of the dissertation formed the basis for 13 publications in journals, collections of scientific papers and periodicals on the Internet. Certain aspects of the research were discussed at scientific and practical conferences in which the dissertation candidate took part. In addition, some of the materials formed the basis of special courses taught by the QMS department of the Southern Federal University.
Conclusion of the dissertation on the topic "Journalism", Suhoveeva, Irina Akimovna
1. Criminal law programs of Russian TV, in addition to carrying out the functions of informing and legal education of citizens, have a significant destructive impact on the consciousness of the viewer. Hours-long broadcasts of criminal content lead to a high number of criminal-legal information contacts of people who, in real life, have much less information about crimes committed in the country. In the minds of the Russian viewer, such criminalization of the information space leads to the substitution of traditional values, the loss of objective reality, and the refraction of stable ideas about one’s way of life.
2. The study of the impact of criminal legal programs allows us to identify a number of problems that are particularly relevant for modern Russia, contributing to the aggravation of general social, cultural, and ideological differences in society. Among them: destruction of values, Negative influence on the moral health of children and adolescents, imitation and adoption of behavior patterns, penetration of the language of the criminal subculture into the speech of the entire population of the country, distrust of law enforcement agencies, creation of the image of Russia as a criminal state.
3. World practice in the field of regulation of television broadcasting demonstrates the effectiveness of mechanisms for monitoring broadcast content, which can be applied and refined within the framework of Russian legislation. Usage modern technologies allows you to control the content of television products, protect viewers from information that could harm their health, especially the younger generation. The most effective measures include adopted age classification systems for television products, defining the boundaries of broadcasting unwanted content at certain times of the day, public control over broadcast content, technical devices that allow the user to independently create their own television program, as well as the presence of a system feedback and practices of legislative settlement of conflict situations between broadcasters and consumers of television products. In Russia, the relationship between media structures and the viewing audience is practically not regulated. The Law “On Mass Media” does not have sufficient conceptual apparatus, and the norms enshrined in professional “codes of honor” have no legal force and are not voluntarily observed.
4. The study of the content of criminal law programs, the methods and techniques of their authors, the peculiarities of text construction and a detailed analysis of video materials allow us to talk about the high criminality coefficient of individual programs. The use of the crime rate coefficient can become an effective tool for transferring the problems of monitoring the content of television broadcasts from a theoretical plane into a practical system of measures.
CONCLUSION
Russian television broadcasting has changed beyond recognition over the past thirty years, meeting the requirements of the new century in the context of the globalization of the information space. All these years, Russian television has been looking for its own path of development, adapting to the new economic and political system, trying to balance between the interests of the viewer, the institutions of power and their own commercial success. An undeniable phenomenon of radical changes is the rapid penetration of criminal legal topics into television broadcasts, their romanticization and popularization. This is evidenced by the structure of modern television broadcasting, in which criminal law programs occupy one of the leading places: their volume in the program schedule of federal television channels reaches 60% of the total broadcast time (as on NTV). The scale of crime content on television is also increasing great amount series about the activities of law enforcement agencies. Naturally, this situation is the result of many years of programming policy of domestic TV channels.
Historical analysis conducted as part of our research, made it possible to identify four periods in the evolution of criminal law programs on Russian television, each of which has its own distinctive features and characteristics. Russian viewers first became acquainted with information of a criminal nature in 1987, when the first crime chronicle program “600 Seconds” was released on screens. The dynamic, acutely social and sensational program immediately found its audience, for which, firstly, the widespread facts of violation of the law in the country became a revelation, and secondly, a new view was opened on the role of journalism in society, the capable power of expressive screen words influence the situation. Being in a state of democratic euphoria and openness, television began to rapidly broadcast to the Soviet-Russian viewer a stream of criminal and legal content that had been dormant until that time. It was the stunning success of A. Nevzorov’s program that contributed to the fact that journalists began to pay more attention to criminal and legal topics, mastering new methods and techniques of work, and program formats. In addition, it was understood that such information, coupled with journalistic talent, can be used to form public opinion on key issues in the country, conduct political struggle in the information field, etc., which caused a rapid increase in the number of investigative journalism, crime shows and films -reconstructions on the domestic airwaves, especially at the turn of the new millennium. But the change of political power in the country in 2000 opened a new stage in the development of the content under study, which was formed into the concept of criminal law broadcasting in Russia. In fact, there was a deep transformation of the thematic and content part of the broadcast, and the most noticeable trend of the new period was a shift in emphasis in covering criminal topics from large-scale, high-profile crimes (building financial pyramids, redistribution of property, information wars) towards less significant, numerous and widespread violations (domestic crime, corruption at the level of small and medium-level officials, theft, etc.). This process is characteristic of all modern television formats of the programs under study, including: operational reports, analytical cycle, investigative journalism, judicial talk show, reality project, reconstruction film, documentary legal series.
In essence, the process of “criminalization” of television broadcasts occurred with tacit consent authorities, viewers, television channel managers. Meanwhile, the detrimental consequences of such a development of criminal legal content for Russian society are already obvious. Despite the rapid development of the Internet, mobile television and other modern means of receiving mass media, terrestrial television has exceptional capabilities for an objective and realistic depiction of reality, and still remains the most accessible and authoritative source of information for residents of the country, a means of forming public ideology, and educating the younger generation . However, due to the fact that for several decades, through criminal legal content, the viewer was offered a way to see problems through the prism of crimes, conflicts, aggression and violence, the criminal way of thinking was popularized. Gradually, in the minds of the Russian viewer, the boundaries between reality and visual play blurred, facts and fiction became transparent and difficult to distinguish. Information about violations of the law, cruelty, human suffering, and interference in private life have become the aesthetics of the new television reality, a marker of the reliability of the image of the surrounding reality as a whole. At the same time, in order to maintain constant viewer interest, television producers strive to find new forms of presenting information, look for an original interpretation, build parallels with the past, and invade the personal spheres of people’s lives, which as a result has turned criminal legal content into a less than high-quality work of journalistic creativity that has a deep social meaning , and in a gradual transition to the entertainment industry through criminal law information. An important feature of the evolution of criminal law programs has been the complete lack of control over the content of television broadcasts. There was no opposition from legislators or from viewers who responded emotionally to criminal content. Therefore, the issue of regulating television broadcasting in terms of its content remains relevant today, but the practice of monitoring the content of programs in Russia has not yet developed. Meanwhile, world experience demonstrates five approaches to this problem: state, public control, self-regulation, co-regulation and user capabilities. Thus, in the United States, the Federal Communications Commission has developed a video classification system that allows you to categorize any television product according to the age of the audience and monitors the implementation of legislation under which broadcasters are required to use special symbols in programs that indicate recommendations for viewing. Users have the additional ability to block unwanted programs using technical devices - V-chips. In the UK, the Communications Authority ensures that programs that can negatively affect the psyche of children and adolescents are not broadcast from 8.00 to 21.00, and in Germany this period of time is even longer - from 6.00 to 23.00. These regulatory measures are based on the system expert assessments, which allow categorization of television products.
It is possible to control the content of the airwaves of Russian channels by assigning each of the programs of the studied class a criminality coefficient - an indicator of the level of concentration of factors that can have a destructive impact on the consciousness of the audience and categorized by content and artistic and visual means used in the program, taking into account its volume audience.
It is obvious that to implement a set of measures to control the content of the airwaves, it is not enough to simply introduce a classification of television programs. It is necessary to introduce quotas for children's, educational, educational programs that popularize the Russian language and culture, as well as create responsibility for television broadcasters for non-compliance with the law. But first of all, legislative and executive authorities need to pay attention to the results of scientific research, methods proposed by scientists in the field of journalism, media psychology and law in order to build an effective system of measures taking into account the experience of other countries, the interests of television broadcasters, and program producers, but, most importantly, in the interests of Russian society, its moral and spiritual health.
A comprehensive study of the process of evolution of criminal law programs, an assessment of the modern policy of criminal law broadcasting, as well as trends in matters of legal regulation allow us to assert that Russian television today is on the verge of serious changes in terms of broadcast content. Development of legislation in the field of television broadcasting, the possibility of public and expert organizations to participate in the creation of a new television space, the formation of a special civil active position viewer with the help of online services, as well as Russia’s movement towards the transition to digital television should significantly affect the broadcasting network of television channels, programming principles and program content. This will indicate new trends in the development of the programs we are researching and will open next stage in their history, which means it will provide material for further scientific research.
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