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Coursework “Criminal journalism on television (on the example of the programs “Man and the Law” and “Patrol Station”)”.Content
Introduction…………………………………………………………………p.2
Chapter I. Criminal programs on federal and local television……………………………………………………………………….p.4
Crime on television: informational, entertainment and analytical programs………………………………………………………….p.4
Investigation in crime journalism………………….p.6
Conclusion to the chapter……………………………………………….p.15
2.1. Program “Man and 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
Crime 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 a legal topic is present in 63.9% of cases in every issue of Russian newspapers, airtime of television and radio companies that deal with law enforcement topics in their publications. . Particular importance is attached to information that can cause a great public outcry. Since 1999, violence and crime have been the main semiotic resource of Russian television. We see how today TV develops the theme of crime. "Criminal Russia", "Duty", "Crime", " Honest Detective”, “Man and the Law”, “Top Secret”, “Emergency” - dozens of programs a week. Television expands the “criminal niche” because these products sell well to advertisers,” 1 writes I. Sukhoveeva in her study of criminal programs.
Although in recent 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 criminal programs are regularly aired on local and federal TV channels. On weekdays, the transmission of criminal content is so located in the broadcasting grid of three TV channels that, starting from morning, you can watch only criminal programs on TV all day long, switching channels. In the morning and afternoon - releases of criminal news, in the late afternoon - court shows, in the evening - criminal analytical programs, investigations. On weekends, crime programs usually run during prime time evenings and are high-profile investigations. In order not to reduce the rating, criminal programs are placed in the broadcasting grid in such a way that they do not 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. It seemed to us the most interesting to analyze criminal journalism on the example of the programs “Man and Law” (“Channel One”) and “Patrol Station” (OblTV).
In the course work, the goal was to consider criminal journalism on television. Accordingly, the topic of this work is “Criminal journalism on television (on the example of the programs “Man and the Law” and “Patrol Station”)”. Based on the goal, the following tasks of the work were formulated:
1) consider criminal journalism and its features;
2) analyze the investigation on a criminal topic as a type of journalistic activity;
3) consider the programs "Man and Law" and "Patrol Station";
4) hold comparative analysis these transmissions.
The object of the study was the criminal trend in journalism. The subject of the research is the programs "Man and Law" and "Patrol Station" as phenomena of criminal journalism.
Course work is based on textbooks, publications in periodicals and Internet sources.
ChapterI. Crime programs on federal and local television
Crime on television: information, entertainment and analytical programs
Let's define the concept of criminal journalism. Criminal journalism is a direction in journalism, the subject of which is crimes, offenses and emergencies (for example, a car accident). The following phenomena most often fall into the field of view of modern criminal journalism:
1) cases of corruption;
2) political crimes;
3) economic crimes;
4) environmental crimes;
5) social crimes;
7) high-profile crimes of past years.
Goals in criminal journalism can be pursued in different ways. First of all, the main goal is to inform about any crimes, offenses, emergency situations. Another goal is to warn spectators not to fall into the “paws” of scammers, for example, or to follow the rules of road safety. The third goal can be considered the moral education of the audience: criminal programs tell that criminals in most cases end their lives sadly: they either die or end up in a colony; show that drug addicts are sick people whose lives you will not envy; about prostitutes and sexual slavery. Fortunately for many young girls, crime shows tell the truth, unlike many romantic films and series, about the profession of the “second oldest”, about its horrors, thereby discouraging young ladies from earning a living with their bodies. The fourth goal is to draw public attention to a particular problem or to a crime, the desire to cause public outcry. The fifth goal is to assist law enforcement agencies in finding or identifying criminals, missing people, wanted by relatives. There are other goals in crime journalism that are far less noble. This is the entertainment of the audience, the increase in the rating, and, consequently, the increase in media income. Such goals are usually pursued by the so-called "yellow" and "yellowish" journalism.
Russian television provides extensive coverage of crime topics: local and federal TV channels regularly air about two dozen crime programs. The viewer can find out the news from the world of crime in all details, both from all over Russia and from his own region. According to their genres, criminal programs are extremely diverse - operational chronicles, court talk shows, analytical programs, investigative journalism, reconstruction films, historical documentaries.
It should be noted that the main share of criminal programs is occupied by information programs, as well as documentary footage of actions, operations carried out, for example, by the police or the police. These include: "News. Duty department” (“Russia”), “Obzor. Emergency" (NTV), "Patrol Station" (OTV), "Sova Rescue Service". Crime Chronicles” (Channel 4) and others. Unfortunately, there is still a very small proportion of journalistic investigations (that is, such investigations that were conducted by journalists, and not a story about the inquisitive actions of law enforcement agencies), analytical criminal programs. Among such programs are "Man and Law" ("Channel One"), "Honest Detective" ("Russia") and others.
Court talk shows have become very popular, in which actors participate instead of real ones. actors, but, according to the authors of the program, the plots of such programs are based on real events. The educational value of court talk shows is questionable, as they are often written by people with little knowledge of the jurisdiction. These programs can be classified as entertainment. They are on most federal TV channels: “Federal Judge” (“Channel One”), “The Court is Coming” (RTR), “Family Matters with Elena Dmitrieva” (“41-Domashny”), “Hour of Court with Pavel Astakhov” (REN TV) and others.
A special segment of criminal programs are criminal historical documentary programs. They tell about high-profile crimes of the past. Such programs combine both elements inherent in informational and analytical crime programs (interviews with law enforcement officers, criminals, victims, relatives of crime victims, etc.), and components inherent in films (filming with actors, documentaries of past years ). Historical criminal programs include “The investigation was conducted ...” (NTV).
Reenactment crime films generally do not have regular airplay. They are usually associated with memorable date some sad event - for example, they tell about a terrorist act during which a significant number of people died.
Thus, the whole range of types of criminal programs is presented on Russian television.
1.2. Investigation in crime journalism
Investigative journalism is a separate area of journalism that intersects with criminal journalism. Own investigation is the “queen” in crime journalism, the most difficult and dangerous type of activity in the media. Maybe that's why, both on television and in the press, one can not often see real investigations of journalists on a criminal topic. As mentioned above, a much larger volume of programs and materials is devoted to criminal chronicles or stories about the investigation conducted by the internal affairs bodies.
What is the difference between ordinary crime journalism and criminal investigative journalism? The subject of journalistic investigation is, first of all, various kinds of crimes, incidents, conflicts, the existence of which someone tries to hide from society. , historical and other (except state and military) secrets. This is precisely the originality of the subject of the investigation, its difference, for example, from the subject of displaying an information program on a criminal topic. The latter also talks about crimes, incidents, secrets, but already about those discovered by someone , known. 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); discovering the secret springs of the phenomena under investigation or revealing the vicious mechanism of committing a crime, exposing criminals. An investigation can be conducted with the aim of achieving some political or economic result, for example, exposing the activities of an extremist political organization, revealing facts of abuse of official position, removing a corrupt official from a ministerial position, depriving a schemer of parliamentary immunity and bringing him to court, returning stolen capital to the country, etc. » 2.
The rest of the goals of investigative journalism are similar to those of crime journalism. For example, a goal such as moral education audience, since any investigation contains a moral generalization that follows from examples of exposure of any crimes. I must say that investigative journalism can also be specifically dedicated to identifying moral offenses or “extracting” moral meaning from any event. In the same way as criminal, investigative journalism warns the audience against making mistakes that threaten catastrophic consequences, it draws 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 “Maximum Program” and “Russian Sensations” on NTV, “S.S.S. R. (Rumors. Scandals. Sensations. Investigations) "on Ren-TV).
Let us dwell in more detail on the technology of journalistic investigation. The subject that a journalist has to deal with can be assigned to one of the three following groups, which predetermines the features of the investigation associated with it 3 .
1. Unsolved cases, incomprehensible incidents, high-profile crimes, when the offender is not found, but 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 persons interested in the riddle being solved. A journalist can count on the help of official structures, which, having reached a dead end, will be able to provide the journalist with the necessary materials and assist in the investigation.
2. Opened cases that cause some doubts in the journalist. Answers to questions: why? How? Who? and so on - there is already, 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 murderers of Kholodov have already been arrested, the case is about to be closed, and the journalist suddenly questions this fact and begins his own investigation. Things can be forgotten by time: the death of Lenin, palace coups etc. It is very difficult to work in such a situation, because one cannot count on the help of official structures: after all, a journalist, in fact, wants to prove that they are wrong. On the contrary, often a journalist has some problems with official structures, which hinders the investigation. In such circumstances, it is difficult to obtain the necessary information.
3. Not initiated cases and hidden crimes. In this case, the journalist must not only identify the perpetrators, solve the crime, but also prove its essence. If in the first two cases the atrocities were evident, then here it is still necessary to reveal the very fact of the crime, and then to look for the guilty. Of course, to engage in this kind of investigation is a responsible and complex matter. In the two cases mentioned above, there is a fact - a crime committed, and this can be operated on in the process of searching for information: the journalist has a specific reason, you can refer to it and get the necessary information. Here, however, there is no such fact, and the reason why the journalist started 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 the initiative, efforts on the part of the journalist himself. Only work with many sources of information - people, documents, personal observation of events contribute to the fact that the necessary facts and materials come to the surface. The search for the subject of investigation must always be expedient, that is, predetermined by the purpose of the speech, which, in turn, must pursue the need to satisfy some urgent social need.
The well-known American journalist John Roberts, former editor of the Philadelphia Inquirer, one of the most famous investigative newspapers in the United States, noted that the goal of investigative journalism is “not to catch a politician with his pants down or to identify a separate violation of the law, but is about digging into the facts deep below the surface to help the reader understand what is 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 in the course of serious investigations, many additional facts are revealed. For example, it turns out that the "oligarch" not only embezzled state funds, but is also a pedophile. In this case, it is necessary to force yourself to focus on one side of the life of your "hero", leaving the other for the competent authorities or the next investigation. For example, to engage in the promotion of machinations that allowed to rob the state, since this is the most important aspect of its “activity” for society. If, when preparing a publication, the investigator is carried away by clarifying 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 a schemer to cover up traces. In addition, too close attention to the personal life of the "object" of the investigation may cause the readers of the publication to think that the journalist is settling some personal scores. Against this "background" the essence of the entire investigation can be perceived inadequately.
For the most part, journalistic materials that outwardly resemble investigations are not. A report about a terrible accident on the road or a story about the results of police investigations into an attack on a collector is not an investigation. In the examples given, neither the accident nor the attack on the collector and the perpetrators were hidden from society. And 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 would have doubted the correctness of the conclusions of the police and would have begun to get to the bottom of the truth, then this could be classified as investigative journalism.
Quite often, what is not investigative journalism is mistaken for investigative journalism. Especially if the story is published under the proud heading "Investigation", but in fact the journalist only took advantage of 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 these are the results of an investigation of the competitors of the accused in the material. In professional language, such publications are called "drain". Thus, in the public mind, the results of a journalistic investigation are often taken to be the results of investigative (investigative) actions of some persons, bodies, institutions that carry out, for example, law enforcement or expert activities, but are by no means journalists.
1) The absence in the text of indications of 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 interception of information transmitted through government communications channels is published in the text, then there is no doubt that it was received by the special services, but by no means by the journalist himself).
3) The text usually lacks elements of dialogue, conversation, interview of a journalist with any of the acting (according to the text) characters 4 .
In the event that a journalist receives a "drain", then 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 the most scandalous details, not even related to the essence of the matter. The concern of a serious journalist is to identify the socially significant piece of information and bring it to the reader, while not 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 copyright investigative criminal 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 interview if it is not possible to put a full-fledged commentary on one of the parties (the journalist in the frame tries to get through to the respondent or talks 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 officers 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 most complete picture of what happened.
Hidden camera shooting, without which 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" in the investigation, he understands, on the basis of which the correspondent made this or that conclusion.
Both theorists and practitioners of journalism raise such an issue as the safety of a forensic journalist. Threats can be in the professional activities of journalists dealing with other topics, but due to the specifics of the work, criminal journalists are more exposed to dangers. This problem is especially acute for investigative correspondents. Entire sections are devoted to the problem of security in textbooks devoted to investigative journalism: Tertychny A.A. Investigative journalism; Wallman J. Journalistic investigations: modern methods and techniques; Shum Yu. Journalistic investigation: guidelines; Journalistic investigation / Under the general. ed. HELL. Konstantinov and others.
In his article “Criminal Profession”, journalist Mikhail Kovalev talks about the “kitchen” of criminal journalism, about the hard everyday life of forensic correspondents. Being a reporter for a crime program means not only sensations, fame, success in the profession, but also a difficult routine work to obtain information, threats, injuries and bruises after a beating, and sometimes even death.
Mikhail Kovalev writes: “There are “unpleasant” specializations in journalism. One of these is crime journalism. It is unpleasant because you have to work at the junction of two very problematic social groups- crime and police. Journalists, which is understandable, are not favored in either one or the other. An arbitrator in the person of a journalist, or rather, an ordinary taxpayer, is not needed by law enforcement agencies. Once upon a 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 criminal editorial office, Vladimir Zolotnitsky, had to hide in a car with a cameraman. The guards "wrecked" the car as best they could, the most powerful of them tore off the license plate in a fit of rage and folded it into a tube with their fingers (!) The operator filmed everything, the footage went on the air, and a criminal case was initiated. Its result is a rare case when a 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 achieve compensation for the harm caused. “Bruises, broken cameras are the everyday life of criminal journalism. Mostly personal guards go on a rampage,” 6 writes Mikhail Kovalev.
But the threat of violence is not the only difficulty in the work of a crime journalist. As a rule, it is very difficult for him to get the necessary information, as there are persons (often very influential ones) who do not benefit from the reporter getting to the bottom of the truth. Therefore, various obstacles are put up for an investigative journalist, they are denied interviews and the provision of the necessary documents. Often, officials demand a lot of money for information.
“More often, relations 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 the press services - structures created specifically for this purpose. You have to pay for information, especially in the provinces, where media attention is not so close. The average price per story is $50. Moreover, you need to “make friends” with these people: drink, eat, have a good chat. The worked out 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, attracting an audience.
Chapter Conclusion
So, the subject of displaying criminal journalism are crimes, offenses and emergencies. The goals of this type of journalistic activity are to inform about any crimes, offenses, emergencies (criminal news); audience warning; moral and moral education of the audience; assistance in the search and identification of criminals, the search for missing people; drawing public attention to a particular problem or crime; audience entertainment; increase in the rating and profits of the media. Russian television presents the whole range of types of crime programs: operational chronicles, court talk shows, analytical programs, investigative journalism, reconstruction films, historical documentaries.
The "queen" of crime journalism is investigative reporting. This type of journalistic activity is very complex, has its own specifics: you need to be able to "dig", obtain information, and also be able to behave in critical situation know safety precautions.
ChapterII. Programs "Man and Law" and "Patrol Station" as phenomena of criminal journalism
2.1. Program "Man and Law"
The program "Man and the Law" has been broadcast on the "First Channel" (formerly ORT, TsT) of the country for 35 years. Alexey Pimanov has been running the program since 1996. “The main topics are the fight against organized crime, investigations of corruption in the highest echelons of power, criminal stories ... The program tries to give a balanced assessment of the most important events in the political, economic and social life countries, covers 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 (we note in parentheses that we are not talking about the “shamanic morality” of the Soviet era that stuck in the teeth or tiring "demagogic verbiage", and above all about the fundamental values of human society, which are not so many in the modern world). That is why "Man and the Law", focusing on the average viewer, constantly monitors the fate of its permanent hero - ordinary person caught in the pincers of injustice and lawlessness,” reads the official website of Channel One 8 . The genre of the program is also defined here - socio-political journalistic. We refer the program "Man and Law", according to the classification given in the first chapter, paragraph 1.1., to criminal analytical programs. Although the presenter Aleksey Pimanov himself refuses to define his program as criminal: “However, I am still against calling the program“ Man and the Law ”criminal. Showing corpses, flickering police sirens in the frame and bloody plots created counting on the outcasts are not our work” 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 be 100% classified as criminal. Perhaps Alexei Pimanov, with his statement, wanted to dissociate himself from the so-called “yellow” criminal journalism. In this case, the presenter can be supported - the program really claims to be a serious analytical one.
The thematic orientation of the program "Man and the Law", its concept, as well as the image in the minds of viewers is largely determined by the presenter Alexei Pimanov. There is no doubt that he has not only the high professionalism of a TV journalist who knows how to make a high-quality TV program, but also the charisma, 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 on television since 1986: until 1989 he worked as a video engineer at the TTC, as a cameraman. In 1989, he moved to the editorial office of the socio-political programs of the Central Television. In 1989-90, Alexei Pimanov was the host of the Steps program, in 1990-91 he was a special correspondent for the TV channel ViD, in 1992-94 he was the author, host and director of the program Behind the Kremlin Wall, in 1993-94 he was the director of the studio "Resonance" at the TRK "Ostankino", in 1995-97 - producer of the programs "Seven Days of Sports", "Football Review", "Sports News" and "Man and the Law". Since 1996 Alexey Pimanov - CEO TK "Ostankino" and host of the program "Man and Law". In 1997, he suggested that ORT 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 the Kremlin, 9, and also produces 12 television programs created by his television company: Man and the Law, Lubyanka, Kremlin , 9", "Idols", " Impact force”, “Health”, “Army Store”, “Emergency Call”, “Secrets of the Century”, the cycle “Documentary Detective”, “Special Forces of Russia” and “Delicious Stories”. He has written and directed over 20 documentaries, candidate master of sports in football. His hobbies are 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 program "Man and the Law" was a kind of legal ambulance, helping viewers to understand the intricacies of domestic legislation. Under the leadership of Alexei Pimanov, the program took a completely different path. Here's how he explains what it's about: « The time, the situation, the television market have changed. Legal assistance in pure form can go out, say, at three o'clock in the afternoon, when some lawyer will give advice to grandparents. But at 22.40, like we do, when other channels have good quality TV shows and entertainment programs In order for the rating to be not 0.3, but 10, we need to broadcast exactly what we are doing now. That is, only tough journalistic investigations” 10 . Thus, Alexey Pimanov also showed himself as talented producer.
Alexei Pimanov is often accused of having a “pro-Kremlin” point of view, of having links 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 the country's First Channel has rendered a friendly service to the FSB. Two and a half years ago, counterintelligence officers asked for help in publicly exposing 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, diligently stylizing the plot as a spy chronicle. There was disturbing music, there were shots with rockets taking off and cruisers plowing the ocean, there were even actors involved in staged scenes on the topic: how Pasko transmitted information. When the verdict was announced to Igor Sutyagin, I assumed in advance that “Man and the Law” would again come out with a revealing story. Because this verdict also raised doubts in society. And the FSB does not want any doubts. Therefore, she again called the journalists of Channel One under her banner ... Looking ahead, I will say that the authors of Channel One did not at all set themselves the goal of analyzing the indictment. They only selected the most lethal "fragments" from the case file, which were designed to colorfully confirm that Sutyagin is a malicious spy, and not at all an innocent, well-read lamb. The program ends with the words: “In this field - justifying the infliction of evil - Alexey Pimanov, I repeat, is not speaking for the first time. And it really performs well. I do not remember what the rating of the program about Grigory Pasko was, but "Sutyagin" is truly crazy. In Moscow, it amounted to 10.4 percent. That is, every tenth viewer watched this program. I watched and probably believed. You can't refuse the program "Man and the Law" in craftsmanship in creating such plots" 12 .
Here is how Aleksey Pimanov responds to accusations that he is dependent on the Kremlin and the FSB: “I have an independent company, I can release the Man and the Law program on both Channel One and Rossiya, on other channels. If I find out that someone in the Kasyanov 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 it? It seems to me that the time of dumb oppositional journalism is long gone” 13 . He adds: “Of course, 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 they do not call us and offer something, but, on the contrary, we hammer them with calls, we ourselves beg them for materials, sometimes holding them by the throat, threatening them with the Mass Media Law. But I will not hide the fact that we have very good relations with many of them, developed over the years. But this perception of the special services as enemies of the people, who think only about how to “leak” information, how to strangle everyone around, make a coup in the country, and put all journalists in jail, I would have long since withdrawn from circulation. Such a 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 an interview that he is often threatened: “Endless threats on the phone are a common thing. For a week or two you go to not very good condition. Then it is forgotten. And once they unscrewed the candles from the car, closed the hood, put them on top and wrote a note: “Be careful when cornering.” This was when we were dealing with money laundering materials, for the first time at the Kremlin level. And about the fake advice. Remember this high-profile case for sure? While making a material about the withdrawal of money from the country, we mentioned the name of the Minister of Foreign Relations. He was then arrested."
The program "Man and Law" is released every Thursday, excluding holidays, at 22.30. This is an evening prime time, which certainly affects the success of the program. The duration of the program without advertising blocks is 40 minutes. On average in transmission is in progress 4 videos. 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 law enforcement agencies and law enforcement agencies, well-known journalists with their not always “convenient” investigations, VIPs known throughout the country who, through no fault of their own, got into a big mess (whether it be incorrectly executed copyrights, protection honor and dignity or provoked by an accident). But this happens very rarely.
The transfer is positioned as an investigative one, but own investigations make up only one or two of all the plots of one issue. The rest is operational shooting and the results of investigations by the internal affairs bodies; investigation of any phenomenon associated with the violation of the law (for example, about fans who harm their idols); a detailed story about any crime or offense or about the error of the 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 killing a girl, and he had to serve 5 years in prison. The hero of the story turned out to be a stubborn man and achieved his release. The newly held court found him not guilty "for lack of evidence." This story is not an investigation, since journalists are not trying to reveal the true reasons for the arrest of an undeservedly accused man, to track down a real criminal. The authors of the story simply state the facts: they condemned an innocent person, ruined his life and did not even apologize.
The structure of the program is as follows: before each story there is an introduction by the presenter, which attracts the attention of the audience, creates the effect of heightened anticipation. Next is the plot itself. When it ends, the host each time gives a rather biting comment on his own behalf. After that, usually - an ad block.
The detective genre has firmly taken its special place, both in literature and on TV screens. Crime stories about crimes have always attracted with their exciting plot, from which it is impossible to break 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 TV screens. Crime stories about crimes have always attracted with their exciting plot, from which it is impossible to break away until the attacker is found, and the mysterious case is solved.
Especially not fading spectator interest is caused by loud historical events And crime dramas one person, based on true events. Indeed, only life itself can offer the most exciting scenario. There are also such documentary television projects that tell about criminal incidents, mysterious disappearances, and mysterious murders on Russian television. "TV Program" has compiled its own rating of detective programs about real crimes and their investigations, aired on various channels.
"The investigation will show", Channel One
The documentary series "Investigation will show" is based on materials from real criminal cases. For the first time, the Investigative Committee of Russia opens its archives. Events are reconstructed with the help of actors and direct participants. Presenter Vladimir Markin, head of the department for interaction with the media of the Investigative Committee of Russia, will “lead” viewers to closed forensic laboratories, show unique records 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. In this project, employees of the investigating authorities are helping to investigate the most intricate and controversial crimes. Contact this project ordinary people who lost their relatives and friends, but the investigating authorities simply could not help them.
Photo: Zvezda TV channel A series of documentaries filmed by the Zvezda TV channel tells about the legendary Soviet criminologists and detectives and about the investigations of high-profile cases. Each series of the project is a whole story with an exciting plot, but this plot is not contrived, but taken from real life. The off-screen text on behalf of a criminal journalist following the logic of the detectives who solved the crime is read by Andrey Yaroslavtsev.
"Man and Law", Channel One
"Man and the Law" has been on the air since March 10, 1970. The author and presenter of the program Alexei Pimanov talks on the air about the most important events in the political, economic and social life of the country. In addition, the focus of each issue is on coverage of the activities of law enforcement agencies, journalistic investigations and revelations. The main topics of the telecast are the fight against organized crime, investigations into corruption in the highest echelons of power, as well as criminal stories.
“The investigation was conducted ...” with Leonid Konevsky, NTV
These criminal cases thundered throughout Soviet Union. Novels were written and filmed based on them. art films. Their defendants are millionaires of the era of socialism, cunning thieves, professional robbers and money changers. The host of the program is the Honored Artist of Russia Leonid Kanevsky, the legendary Major Tomin from popular series“Experts are investigating” does not just tell about the crimes and intruders of the Soviet era, but shows a bygone era so that young viewers can feel the spirit of a bygone time, and older viewers can feel nostalgia for the past.
ID Xtra channel projects
The ID Xtra channel, which is part of the Discovery Communications media holding, began broadcasting in Russia in 2014. All channel projects are Detective stories based on real events. Here and the investigation of crimes, fatal love stories, mysterious disappearances of people, forensic mysteries, high-profile scandals related to famous people and much more. In particular, one of the channel's most popular projects is the Poisoned Passion program, 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 programs with criminal content on domestic television.
1.1. Criminal-legal programs: prerequisites for the emergence and features of development on domestic TV.
1.2. Periods of development of criminal-legal programs on domestic television (1987-2000).
1.3. Formation of the concept of criminal law broadcasting (2000-2011).
CHAPTER II. Genre-thematic features of criminal-legal television programs.
2.1. Criminal and legal topics on TV: signs of program identification.
2.2. Formats and genre structure criminal law programs.
2.3. Principles of programming: criminal-legal programs in the broadcasting network of TV channels.
CHAPTER III. Problems of functioning of criminal-legal programs on modern television.
3.1. The impact of criminal-legal content on the audience: a socio-cultural aspect.
3.2. The practice of regulating the content of television air: world experience and Russian reality.
3.3. "The coefficient of criminality" of programs in modern Russian television.
Introduction to the thesis (part of the abstract) on the topic "Criminal and legal programs on domestic television: evolution and current state"
The last three decades in history domestic television marked by serious transformations associated primarily with social, economic, political changes in the life of the country. During this time, television, like other media, has gone through periods of glasnost, perestroika, demonopolization, decentralization, and commercialization. As a result, the role of communication has rapidly increased, television companies have been divided into program producers and broadcasters, the functions of television journalism have been transformed, the television space itself has changed in Russia, and the production and broadcast of television programs have become 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-legal broadcasting to the fore.
As journalism researchers E.A. 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 of freedom of speech. “After the collapse of the Iron Curtain in Russia, a stream of American and Western European action films and horror films poured onto the country's television screens. Cartoons, reality shows and other violent programs exported to us were only the first step in the development of rating television in Russia. In pursuit of ratings, over the past three decades, channels have been constantly increasing the number of programs containing information of a criminal nature. Today, more than 40 such programs are broadcast on the air of the federal channels Pervy, Rossiya-1 and NTV per week.
The problem of the negative impact of the criminal content of television 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 leisure 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 "Cinema Art" D. Dondurei published in " Russian newspaper Manifesto "The Man Was Forgotten, or Why Modernization Depends on Culture". In his opinion, one of the most important problems of modern Russia is 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 “according to concepts”, introducing into everyday life prison slang and broadcasts "an unprecedented amount of television content in the world practice, dedicated to demonstrating all types of violence, scandals, rumors." [ibid]. Criminal law programs and serials are increasingly spreading "the myth of the omnipotence of the underworld, of crime as the only means of achieving justice and even simply surviving, of Russia as a country of criminals" . Thus, an appropriate image of our state is formed: a criminal, criminal community, where there is no place for humanistic relations. This creates an environment conducive to the development of corruption in government and law enforcement agencies, neglect to the law and the depreciation of human life, embitterment and bitterness, especially of the younger generation.
The current situation in the domestic TS, characterized by the presence of a vast zone of criminal and legal content, requires scientific understanding with an appeal 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 appearance of relevant research papers. In line with the scientific problems dictated by the time, the present work has been carried out.
It should immediately be clarified which television programs we call "criminal-legal", 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 collision of two different meanings of the word "criminal". The first meaning of the word is “criminal”, “criminal”, the second meaning develops thanks to such terminological phrases that are widespread in journalism, such as “criminal chronicle”, “criminal department of the newspaper”. It should be defined as "dedicated to crime", "about crime". The use of the adjective "criminal" for the terminological purposes of designating the class of programs we are studying is based precisely on this tradition of using 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 representing a legal assessment of the situations reproduced on the screen. The norms of the Russian language rather dictate the term “programs of criminal and legal topics”, however, it runs counter to the practice of using short phrases in television journalism, such as “socio-political”, “cultural and educational programs”, which is reflected, in particular, and on the official websites of TV companies. Therefore, taking into account the already well-established trends in the theory and practice of modern journalism, we use the term "criminal-legal" program.
The relevance of this study is due to the need to study the content of television broadcast with its characteristic Lately the expansion of criminal law programs and the corresponding change in the program policy of channels in the perspective of the transformation of television since 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 associated with the urgent need to develop mechanisms for ethical and legal regulation of the process of creating and broadcasting programs on criminal and legal topics.
The appeal of producers of television programs, films and serials to criminal topics demonstrates not only sociocultural changes in society, but also new round In the organisation creative processes. Understanding the transformation of the programming policy of TV channels can be fruitful in predicting future changes in the field of television, and studying enough new things in Russian air class of criminal law programs is relevant both for the theory of journalism and in general for scientific understanding current trends television production process.
The degree of scientific elaboration 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 media sphere. .
So, R.P. Hovsepyan , G.V. Kuznetsov , G. Vachnadze , A.S. Vartanov, E.A. Kornilov, A.P. Korochensky, Yu.V. Luchinsky, A.I. Be-ko consider key features functioning of domestic journalism in conditions of one-party system Soviet state and the beginning of democratic transformations in the transition period, analyze 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.
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 of "format" and "genre", their correlation, the scope of features is being studied by scientists of 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. Zwick,
A.A. Novikova, I.N. Kemarskaya, V.A. Sukharev.
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.C. Zapesotsky and V.T. Tretyakov.
A number of authors present an analysis of the results of research programs of federal TV channels, raise the problems of the influence of television on society and individual person and problems of image formation through the television stream. They considered detective-crime programs as an independent class of television production.
The influence of "thrash" journalism, based on anguish, stress, provocation, the search for sensations, on the psyche of an adult and children's audience is devoted to a comprehensive study by a group of authors: V.A. Koltsova,
B.A. Eliseeva, Yu.N. Oleinik, V.A. Sosnina. 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 of violence" educating the younger generation. The legal aspects of media regulation, the mechanisms for exercising control over 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 certain aspects of the problem in scientific, specialized and popular scientific publications are devoted directly to the narrow topic of this dissertation. The conditions in which the media system found itself as a result of the changes, the issues of the appearance of information of a criminal nature on the television screen, as well as the reasons for the popularity of crime-themed programs and serials are reflected in a number of articles in the journals Vestnik Moskovskogo Universiteta, Zhurnalist, and Rossiyskaya Gazeta "and" Literary newspaper "and others. .
Global network The Internet today is an important source of information that allows one to get acquainted with the history of the creation of individual criminal law programs and their conceptual settings, view archival recordings of programs, and also use data from the official websites of television companies. The network contains resources with fragments of interviews received from authors and presenters of criminal law programs, television critics, as well as comments on them. In this regard, the site "Museum of Radio and Television", the largest information cinematographic portal "Encyclopedia domestic cinema» . The results of international and Russian media studies are presented on the websites of the sociological service "Public Opinion Foundation", the All-Russian Center for the Study of Public Opinion "VTsIOM", TNS Gallup Media, etc.
A review of the literature allows us to notice that a comprehensive study of directly criminal-legal television programs has not been undertaken so far. 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 translation of criminal-legal programs are a serious scientific and practical problem that requires a comprehensive study.
The object of this study is criminal-legal television programs.
The subject of the research is the functional features of criminal law programs, their themes and issues, genre and artistic specificity, as well as the impact they have on the Russian audience.
The purpose of the work is a comprehensive study of criminal-legal programs in the historical-theoretical, classification and ethical-legal aspects.
The purpose of the work determines the formulation of the following research objectives:
1) consider the factors that contributed to the formation and development of criminal law broadcasting of 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 features characteristic of each stage, and present trends in the development of criminal topics in the near future.
3) introduce the concept of "criminal-legal television program", identify the signs, specifics and distinctive features of this type of programs, determine their place and role in the broadcasting policy of TV channels.
4) present the format-genre classification of programs of the criminal-legal class, highlight the signs of their identification, consider the specifics of formats and genre originality of modern criminal-legal programs.
5) conduct a comparative analysis of criminal law projects broadcast today with predecessor programs, compare the features of the program policy 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 audience and its connection with socio-cultural problems typical for Russian society.
7) review experience various countries in matters of legal and ethical regulation of television broadcasting, compare their control measures with those implemented in Russia.
8) develop a system of measures to regulate the process of broadcasting criminal content on television on the basis of assigning a "criminality factor" to television products 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. Ovsepyan , 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-legal programs of Russian TV 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 law programs, various methods of studying them were used - from introductory viewing to systematic monitoring with elements of content analysis. The programs of three federal TV channels were selected for the study: “Special Investigation”, “Man and the Law”, “Criminal Russia”, “Out of Law”, “Federal Judge”, “Detectives” (TV channel “First”); broadcasts: “Duty Unit”, “Road Patrol”, “Honest Detective”, “Special Correspondent”, “Court is Coming”, “Kulagin and Partners” (“Russia-1”); "Emergency", "Reporter Profession", "Modern Crime", "Russian Sensations", "Investigation" Sincere confession”, “Maximum program”, “Dashing 90s”, “In the zone of special risk”, “Before the trial”, “Children. Stories of All-Russian Deception”, “Punishment. Russian prison yesterday and today”, “Prosecutor's check”, etc. (NTV).
The scientific novelty of the work lies in the fact that for the first time it presents a comprehensive study of criminal-legal programs as a separate class of television production in its historical and theoretical-classification aspect.
Chronological framework research is driven by the need to consider criminal law programs in historical development, so include the period from the late 1980s. Until now. Particular attention is paid to criminal law programs of the modern stage - from 2000 to 2011.
Research methodology. With regard to research in journalism, E.A. Kornilov and E.E. Kornilov distinguish several groups of methods used: 1) general scientific, abstract-logical (observation, experiment, analysis, synthesis, induction, deduction, etc.); 2) methods that are common to all humanities and are applied taking into account the uniqueness of journalistic research; 3) specific, characteristic of historical and philological knowledge (comparative-historical, retrospective, textological, genre-stylistic, etc.). The process of evolution of programs with criminal content on the air of domestic television made it possible to reveal and describe such methods of historical knowledge as historical-comparative, historical-typological and historical-systemic.
Complex structuring of the object of study would be impossible without the theoretical and typological method of analysis, which was deeply developed 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, to highlight the signs of their identification from total number television products.
The work also uses a systematic approach that allows us to consider criminal-legal programs, on the one hand, as a separate class with the unity of features, goals and functions, and on the other hand, as a unit in the structure of television broadcasting as a whole. The use of a systematic approach made it possible to establish the relationship and interdependence between the viewing of criminal-legal programs and the consequences of their influence on the audience when considering the process of manipulative influence of television.
Solving problems and achieving the goal turned out to be possible in the context of an integrated approach that involves a combination of various research methods, each of which provides additional explanatory resources. Among them are classification, typology, analogy, comparison, as well as structural-functional, sociological and quantitative analysis.
The solution of the practical problem - the development of a system of measures to control the transmission of criminal law programs, including using the "criminality coefficient" - was carried out using specific methods for collecting empirical material: document analysis, content analysis, survey, participant observation, questioning.
The following provisions are put forward for defense:
1. In the late 1980s. In the 20th century, programs appeared and gained popularity on domestic television, which became the prototypes of modern criminal-legal programs, which led to the rapid development of criminal-legal broadcasting, an increase in the volume of information of a criminal nature on television, as well as the targeted development of the niche of criminal journalism by individual TV channels.
2. Criminal-legal programs - an established class of television programs that have their own characteristics and distinctive features. The format and 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, which allows TV channels to build a specific program policy that provides viewers with round-the-clock viewing of criminal content without age restrictions.
4. Programs on criminal and legal topics have a destructive effect on the audience: they contribute to the destruction of cultural, family, and ideological values of Russian society; encourage the next generation to aggressive behavior, cruelty and violence; create the 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 "criminality rate" of programs, films, serials and other media products.
Theoretical significance work is due to her contribution to the study of the history of domestic television, the processes of formation and development of criminal and legal programs on the air of Russian TV channels. In addition, the term “criminal-legal 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 features for criminal law programs, which allows them to be classified, theoretically typological and historically typologically analyzed. Proposals have been developed for a system of measures to regulate the transmission of criminal and legal content, separate conclusions can be applied to control the content of television broadcasts on present stage. The results of the study can be used in the course of the history of journalism, the theory of journalism, as well as for teaching the special course "Criminal and legal 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 study of the topic, determines the methodological and theoretical basis of the study, characterizes its novelty and practical significance. An analysis of the scientific literature and sources is given, the object and subject of research are determined, the provisions submitted for defense are formulated, and the results of approbation are presented.
The first chapter "Historical and theoretical analysis of programs of criminal content on domestic television" examines the process of evolution from programs with criminal content to modern criminal and legal programs, examines the stages of formation and development of criminal topics on the air of Russian TV channels. It also analyzes trends in the programming policy of TV channels, describes the main areas of criminal law broadcasting and 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-legal programs", which also consists of three paragraphs, the object of research is defined, characteristic features and typological features of the programs are distinguished, and programs are classified in all the variety of modern television formats and genres. The features of the placement of criminal projects in the broadcasting grid of the channels "First", "Russia", NTV are described, taking into account their genre affiliation, channel ideology, temporal rhythm, frequency of broadcasting, rating, etc.
The third chapter "Problems of the functioning of criminal-legal programs on modern television" reflects the impact of criminal-legal programs on the Russian audience, as well as the problems of legislative and ethical regulation of broadcasting programs modern television. Like the previous two, the third chapter contains three paragraphs. They summarize the problems of the formation of a culture of violence in modern society, an analysis of the mechanisms for controlling the content of television air in the world is carried out on 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. Section 3.3 concludes the study. "Criminality coefficient" of programs on modern Russian television, which proposes a list of mechanisms that allow streamlining 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 are outlined for further studying the object of study and deepening the problem.
The list of references includes 213 titles of scientific-theoretical, reference and journalistic literature, as well as Internet sources, which the author referred to 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 broadcasting network of TV channels according to the broadcast schedule for the period from 2006 to 2011.
Approbation of the research results. The main provisions of the dissertation formed the basis of 13 publications in journals, collections scientific works And periodicals online. Separate aspects of the research were discussed at scientific and practical conferences in which the dissertation took part. In addition, some of the materials formed the basis of special courses taught by the QMS Department of the Southern Federal University.
Dissertation conclusion on the topic "Journalism", Sukhoveeva, Irina Akimovna
1. Criminal-legal programs of Russian TV, in addition to carrying out the functions of informing and legal education of citizens, have a significant destructive effect on the consciousness of the viewer. Hours of broadcasting of criminal content lead to a high number of criminal and 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 a 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 life order.
2. The study of the impact of criminal law programs allows us to identify a number of problems that are especially relevant for modern Russia, contributing to the aggravation of general social, cultural, and ideological differences in society. Among them: the destruction of values, the negative impact on the moral health of children and adolescents, the imitation and adoption of patterns of behavior, the penetration of the language of the criminal subculture into the speech of the entire population of the country, distrust of law enforcement agencies, the 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 controlling the content of the air, which can be applied and improved within the framework of Russian legislation. Usage modern technologies allows you to control the content of television products, protect viewers from information that can harm their health, especially the younger generation. Among the most effective measures are the adopted age classification systems for television products, the definition of the boundaries of the broadcast of inappropriate content in certain time days, public control over the content of the air, technical devices that allow the user to independently create their own TV program, as well as the availability of a feedback system and the practice of legislative conflict resolution between broadcasters and consumers of a television product. In Russia, relations between media structures and the audience are practically not regulated. The law "On the Mass Media" does not have a sufficient conceptual apparatus, and the norms enshrined in professional "codes of honor" do not have legal force and are not voluntarily observed.
4. The study of the content of criminal law programs, the methods and techniques of the work of their authors, the features of the construction of the text and a detailed analysis of video materials allow us to speak about high coefficient criminality of individual programs. The use of the criminality coefficient can become an effective tool for transferring the problems of control over the content of television broadcasts from a theoretical plane to practical system measures.
CONCLUSION
Television broadcasting in Russia over the past thirty years has changed beyond recognition, meeting the requirements of the new century in the context of the globalization of the information space. Russian television all these years has been looking for its own way 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 indisputable phenomenon of radical changes is the rapid penetration of criminal and legal topics into the television broadcast, its romanticization and popularization. This is evidenced by the structure of modern television broadcasting, in which criminal-legal programs occupy one of the leading places: their volume in the program schedule of federal TV channels reaches 60% of the total broadcast time (as on NTV). The scale of criminal content on television is also increased by a huge number of series about the activities of law enforcement agencies. Naturally, this situation is the result of a long-term program policy of domestic TV channels.
Historical analysis, conducted as part of our study, made it possible to identify four periods in the evolution of criminal-legal programs on the air of domestic television, each of which has its own distinctive features and characteristics. For the first time, the Russian audience got acquainted with information of a criminal nature in 1987, when the first program was released. crime chronicle"600 seconds". 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 look at the role of journalism in society, capable of expressive screen word influence the situation. Being in a state of democratic euphoria and publicity, 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, program formats. In addition, it was understood that such information, coupled with journalistic talent, can also 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 journalistic investigations, crime shows and films - reconstructions on the domestic air, 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 studied content, which was formed into the concept of criminal law broadcasting in Russia. In fact, there was a profound transformation of the thematic content of the broadcast, and the most noticeable trend of the new period was a shift in emphasis in the coverage of 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-sized officials, theft, etc.). This process is characteristic of all modern television formats of programs under study, including: operational reports, analytical cycle, investigative journalism, court talk show, reality project, reconstruction film, documentary-legal series.
In fact, the process of "criminalization" of television broadcasting took place with tacit consent authorities, viewers, heads of television channels. Meanwhile, the detrimental consequences of such a development of criminal and legal content for Russian society are already obvious. Despite the rapid development of the Internet, mobile television and other modern means receiving mass information, terrestrial television has exceptional opportunities for objective and realistic image in reality, it still remains the most accessible and authoritative source of information for the country's inhabitants, a means of forming a social ideology, educating the younger generation. However, due to the fact that for several decades, through the criminal-legal content, the viewer was offered a way to see problems through the prism of crimes, conflicts, aggression and violence, there was a popularization of the criminal way of thinking. Gradually, in the minds of the Russian viewer, the boundaries between reality and the visual game were erased, facts and fictions became transparent and difficult to distinguish. Information about the violation of the law, cruelty, human suffering, interference with privacy turned into the aesthetics of a new television reality, into a marker of the authenticity of the image surrounding reality generally. At the same time, in order to maintain a constant audience interest, TV producers seek to find new forms of presenting information, look for an original interpretation, build parallels with the past, intrude into the personal spheres of people's lives, which as a result turned criminal legal content into a non-quality work of journalistic creativity that has a deep social meaning. , but in a gradual transition to the entertainment industry through criminal-right information. An important feature of the evolution of criminal law programs was the complete lack of control over the content of television broadcasts. Opposition was not met either by the legislators or by the viewer, who emotionally responds to criminal content. Therefore, the issue of regulating television broadcasting in terms of its content remains relevant today, but the practice of controlling 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 opportunities. For example, 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 that requires broadcasters to use special characters in programs that mean recommendations for viewing. Users have an additional opportunity 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 on the air 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 a system of expert assessments that allow for the categorization of television products.
Control the content of the broadcast Russian channels it is possible by assigning to each of the programs of the studied class a coefficient of criminality - an indicator of the level of concentration of factors that can have a destructive effect on the consciousness of the audience and categorized by the content and artistic and visual means used in the program, taking into account the size of its audience.
Obviously, to implement a set of measures to control the content of the air, it is not enough just to introduce the 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 to form the responsibility of TV broadcasters for non-compliance with the law. But first of all, the legislative and executive authorities need to pay attention to the results of scientific research, the methods offered by scientists in the field of journalism, media psychology and law in order to build effective system measures taking into account the experience of other countries, the interests of television broadcasters and program producers, but, most importantly, in the interests of the Russian society, its moral and spiritual health.
A comprehensive study of the process of evolution of criminal law programs, an assessment of the current policy of criminal law broadcasting, as well as trends in legal regulation allow us to state that Russian television stands today on the verge of serious changes in the aspect of the content of the air. 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 the movement of Russia along the path of transition to digital television should significantly affect the broadcasting schedule of television channels, programming principles and program content. This will mark new trends in the development of the programs we are studying, open up the next stage in their history, and therefore provide material for further scientific research.
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