Telvision Criticism - Univ. of Iowa

L&O: SVU Intro:

                                               

L&O: SVU Opening Credits:

Analysis:

Law and Order: Special Victims Unit (SVU) is a unique case of utilizing a distinct opening credit and intro scenario that is not only consistent branding across the Law and Order universe (the “original” Law and Order, Law and Order: Criminal Intent, Crime and Punishment, Law and Order: Trial by Jury, Law and Order: L.A., and Law and Order: UK), but also allowing difference within itself in the Law and Order universe spectrum. The opening credits are voiced by narrator Steven Zirnkilton, who serves as the opening narrator for all of the U.S.-based Law and Order series (L&O: UK has a British announcer). This immediately establishes continuity within the Law and Order franchise as an L&O production that is closely tied with the other Law and Order-themed series.

The words of the SVU intro are based in the construct of the theme of the individual series; with same narration and overview structure (several L&O series, including SVU, begin with the phrase “In the criminal justice system…”), it sets the foundation of what a person who is at least vaguely familiar with the Law and Order series and structure will expect to find regarding this series. The introduction references the seriousness and viciousness of crimes against special victims, the units that are tasked with prosecuting and preventing those crimes, and the “stories” that associate with the unit, society, and legal systems. Along with the consistent narration is the use of the two-tone “dun-dun” sound effect that also brands SVU as a continuation of the Law and Order series.

The opening credits are also loosely tied with the Law and Order franchise. What is noteworthy is the instrumental music tied to image change. Throughout the opening credits, specific notes (such as a drum, clarinet note, etc.) were used as signifiers of a frame change. This indicates precise editing and it sets the tone for the pace and quantity of the image placement within the SVU opening credits. While unlike the episodic elements of the series, the music did not dictate tone (serious music for serious issues), the use of instrumental clarinet, dramatic drums, etc. does lend a presence of prestigious stories and drama (legal, assault-based content) and the seriousness of the series (as opposed to the theme music to “The Big Bang Theory”).

New York also played a prominent role in the Law and Order: SVU opening credits. This is a given, as the setting of the series is predominantly the NYC-area boroughs, with additional settings nearby in the NYC-market area of New Jersey (and occasionally upstate N.Y.). However, it is the plethora and breadth of New York content that adds not only a setting element to the series, but the role of the New York law enforcement in aiding and protecting victims in their city. This is set up in the opening sequences of the credits, where to start, a brief pan of the New York Manhattan skyline (fitting as the show is predominantly focusing on the Manhattan branch of the SVU) is shown to introduce the show as a New York-focused drama. Interestingly, in opening credits before the 9-11 attacks, this skyline pan did feature the World Trade Center; in subsequent episodes after 9-11, this was removed. Brief pans of downtown city buildings (too fast for landmarks, but noticeable enough to recognize it’s New York) also are utilized as transitions within the intro to add to the city-structured landscape.

Images of NYPD and homage to their services and what the special victims units do in their daily work are also prominently displayed. Stills of NYPD police cars and officers helping victims of all races, ages, and genders are not only prominently displayed on-screen, it is also a real-life allusion to the work of police and their dedication to “strive and protect” the citizens of their city. Images of infants indicate how SVU delves to protect youth and the grotesque assault cases that arise, in addition to the enforcing and protecting of those involved in high-risk sexual cases on a constant basis, such as the screen image of prostitutes in the city. This is essentially a remarkable way SVU ties into the real-life issues and service of the NYPD, in addition to reinforcing the serious, life-saving work police (and on the show, SVU) does on a daily basis.

The cast photos of SVU – I analyzed an episode from season 14 (it’s currently in its 16^th season) – also reference distinct landmarks from SVU. Mariska Hargitay’s photo depicts her standing in front of most of the NYC skyline; one could make the argument that this is her show, she is the star (since most of the original cast has left), and therefore, it’s the biggest, most substantial role. Yet, other cast members also have notable photo depictions. Raul Esparza, who plays the assistant district attorney (ADA) assigned to SVU, Rafael Barba, is pictured in front of a judicial building in New York – thus symbolizing the role of Esparza’s character as ADA Barba and the role Barba plays within the SVU structure. In a similar extent, Ice-T’s character, Fin Tutuola, a noted tough-nosed, street cop, is pictured near what looks like a rail yard viaduct bridge, giving the appearance of a grizzled neighborhood, much like the character.

Finally, as a tie-in, I thought the color schemes of the photos listed of the cast, special victims, and the NYPD were uniquely nostalgic and produced. Cast photos are in a bronze/gold tint, and I never thought about this now, but perhaps it’s in that hue for gold as a savior-type of contrast? It may just be the bronze overtones are different from the rest of the photos, but it’d be interesting to analyze further why those color contrasts and not just simply in-color photos (like the end cast shot). Along with that, the black-and-white stills and grainy images of police, victims, and scrolling of special victim-type crimes also add to the dramatic and seriousness genre of the show. It is not only a nostalgic historical representation of the NYPD and the city – black-and-white is usually associated with old-school types of media – but also adds to the flawed and dramatic. Grainy images of strollers, swings, prostitutes on a corner, and emotional infants are emotional peaks to the rough and oppressed lifestyles of citizens and the haunting emotions from knowing those people and the tragic/abusive relationships they may have had are a striking way SVU resonates with the city and special victims crimes overall. It is an interesting analysis of how images, music, and visuals all correlate into production of a show. Law and Order: SVU is a show I watch often – and have for several years – and I must say, until this assignment, I never really thought twice about the impact said production of the introduction and opening credits have on not only the show, but depictions of victims and the New York City culture overall.