Kinds of Blue: the Representation of Australian Police And
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KINDS OF BLUE: THE REPRESENTATION OF AUSTRALIAN POLICE AND POLICING IN TELEVISION DRAMA AND REALITY TELEVISION Antony James Stephenson A thesis submitted in fulfillment of the requirements for the degree of Doctor of Philosophy Charles Sturt University 2019 Abstract Despite the popularity among Australian audiences of television drama and reality programs featuring police, there has been a paucity of research into what they communicate about real world policing. It can be argued that these “cop shows” are productive forms of public relations for police agencies, particularly the co-produced reality TV variety, and as such valuable commodities for producers and broadcasters. As cultural objects these programs both draw upon and generate expressions of national identity. This dissertation examines a selection of Australian police television series—Recruits, The Force: Behind the Line, RBT, Blue Heelers, Wildside, and East West 101—applying a multi-perspective approach that analyses their relationship to the symbolic and real-world institution of policing. In so doing, I explore three key elements fundamental to these programs; their production, textual content and reception. As complex audio-visual texts, cop shows can generate myriad meanings and messages regardless of factors underpinning their production. However, in the case of reality TV, what became evident is that institutional reputation is foremost: this, ironically, undermines the reality of police work as it is presented on television. The drama series, free from the strictures of the television producer and police partner bond, can go beyond the observational documentary script; however, the programs surveyed here did not use this freedom to challenge the legitimacy of the institution. Furthermore, neither reality TV nor cop dramas embraced the workplace as a site of diversity, particularly in regard to gender. The reception component of this study drew on 25 interviews with policing students and serving and retired police officers. This qualitative research provided insight into how prospective, current and retired police interpreted televisual representations of the profession. It was found that those interviewees more embedded in the police culture contested the role i of women, while aspirants to the profession were more likely to promote a more diverse work force. This dissertation synthesises archival, qualitative and textual research in order to comprehensively examine the under-analysed phenomenon of Australian cop shows. The goal of the dissertation is to provide insights into televisual representations of police work, what these narratives communicate about policing, authority and national identity, and how these constructions are interpreted. ii Acknowledgements I extend my thanks to the following: My supervisors, past and present: leads, Associate Professor Chika Anyanwu from the outset to beyond the midpoint, and Dr. Suzie Gibson, who stepped up from co- supervisor for the final leg; and co-supervisors, Dr. Lachlan Browne, the late Professor Steve Redhead and Dr Amalie Finlayson. Wise scholars and generous counsellors, all. The serving, retired and prospective police officers who gave up their time to participate in interviews for the audience stage, and the Liaison Officer and the Television Producer, for their part in the production stage. My colleagues in the NSW Police Force, especially the library team; Glenda Banfield, Anne Dellapina, Paulene de Graaf, and Sandra Hall; Dr. Chris Devery, Ms Cheryl Vincent and Dr Christie Wallace in the Research Coordination Unit, and Sergeant Donna Bruce. My critical readers, Andrew Kelly and Dr. Jonathan Bollen. My most constant of companions at the keyboard, Miles Davis (who inspired the thesis title), Glenn Gould and Slava Grigoryan. My parents, John—much missed—and Denise Stephenson, and my parents-in-law, David—also much missed—and Anne Bollen. Most of all, for everything that is the best of all things, and with much love, my partner, Jenny Bollen, and our daughters Monica, Clare and Helena: the four inner- most in my life. iii Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. ………………………………………….. Antony Stephenson 3 June 2019 iv Accompanying Note Parts of this thesis have appeared in: Stephenson, A. (2015). Police as television viewers and policing practitioners. Fusion. 7. 1-9 http://www.fusion-journal.com/issue/007-fusion-mask-performance- performativity-and-communication/police-as-television-viewers-and-policing- practitioners/ v Table of Contents Abstract .......................................................................................................................... i Acknowledgements ............................................................................................................... iii Statement of Authentication .................................................................................................. iv Accompanying Note .............................................................................................................. v Table of Contents .................................................................................................................. vi Introduction: Police on Television ..................................................................... 1 Literature Review .............................................................................................. 6 Police Drama ............................................................................................................... 6 Reality Television ....................................................................................................... 38 Police Audiences ....................................................................................................... 45 Contexts, Methodology and Methods .............................................................. 57 Research Contexts: The Idea of Police ...................................................................... 57 Methodology .............................................................................................................. 61 Methods ..................................................................................................................... 72 Production ...................................................................................................... 81 The Police and the Media: Logics and Asymmetries .................................................. 81 The NSW Police Force and Television: A Documentary Analysis .............................. 87 Productive Opinions: Two Interviews ......................................................................... 95 Texts 1: Police Reality Television Series ...................................................... 126 Recruits (2009–2010) .............................................................................................. 126 The Force: Behind the Line (2006–) ......................................................................... 137 vi RBT (2010–) ............................................................................................................ 145 Texts 2: Police Drama Series ....................................................................... 156 Blue Heelers (1993–2006) ....................................................................................... 156 Wildside (1997–1999) .............................................................................................. 172 East West 101 (2007–2011) .................................................................................... 180 Audience ...................................................................................................... 192 Professional Perspectives on Television Police ....................................................... 197 Reality Television Policing ....................................................................................... 212 Legitimacy and National Identity .............................................................................. 217 Television Policing Decoded .................................................................................... 230 Synthesis: Cop Shows and the Idea(ology) of Police .................................... 235 Limitations................................................................................................................ 241 Future Research ...................................................................................................... 243 Reference List ................................................................................................................... 248 Appendix 1: Approvals ...................................................................................................... 277 Appendix 2: Interview schedules and questions. ............................................................... 282 vii Introduction: Police on Television This thesis examines the representation of police in Australian fictional and observational documentary, or reality television, programs. The research is located in the fields of media studies and policing and adopts a multi-perspective approach by analysing the content of televisual texts as well as their political and cultural influences and the ways in which they are produced, received and interpreted.