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Meep

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This is the theory where genre follows a stereotype but also breaks representation. Therefore, the iconography of the office, police etc. is a stereotype but time travel breaks representation.

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Gerbner sees the media as having an effect on the audience by influencing people's perception of reality.
It suggests that cultivation forces mainstream values and dominant ideologies. The more the audience watch this they will continue to watch but also wonder if time travel could be real.

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Classical Narrative Structure:
- Equilibrium/balance (everything is normal) He's solving crime and has a role of DCI.
- Disruption/disequilibrium (something bad happens or inconveniences the regular narrative)Firstly, when Maya goes missing as well as the accident and him going to the 70s.
- Resolution/return to equilibrium (problem or inconvenience is resolved, and the narrative returns to the original story) Within the discreet narrative the murderer is arrested however there is an on going narrative where he is continuing to try and get out of the 70s.

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The setting is a bright setting however it is dark on the characters. The characters are very predominant who have busy and professional lives but also are personal. Within the office there's many files with a number of different cases on and modern computers. There's many diegetic sounds coming from the office. The police station itself is at a low angle status which looms over everything. This could connote power of law and reference point for an audience. In the interview scene, the room is very modern and organised with pens on the table.

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There is echoed music throughout which makes it slightly eery. Its in a stereotypical working class, Northern setting. When he is hit by the car, he is taken back to the 70s and the song plays through the eras; intertextuality of David Bowie's 'Life on Mars'. Enigma codes throughout and there is a clear use of a Todorovian disruption which shows Sam Tyler's vulnerability. Unlike a typical crime drama, there is time travel which is very much sci-Fi, therefore this uses Neals difference within the genre.

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Eerie echoing child's voice whispers 'where are you?' and the point of view shot follows shoes walking through the woods with a hand-held camera.
- Tracking shot
- Close up shots
As Tyler emerges from the car the camera is at the floor's level and at a  canted angle.
The car that knows Tyler down creates disorientation.
The car comes out of nowhere, creating a sense of shock in the audience.
There is no narrative set up for this, canted shot of Tyler lying on the floor.

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Generic codes as car pulls up and you hear the diegetic brakes, police vehicles and uniformed police. Sam Tyler framed dominantly on right, suited with tie, looking smart, precisely done and by the book. as well as this, when arresting Colin Rames he reads his rights perfectly.

It establishes contemporary setting in 2006 straight away; Sam Tylers role in the show and personality/attitudes. The genre is a classic crime/cop drama conventions; narrative strand of colin Rames and case which will parallel in 1973; contemporary ideologies.

Iconography throughout would be the handcuffs and taser. The chase through the alleys, scaling the walls uses a hand held camera which creates a sense of immersion, alongside point of view shots which position the audience with Sam.

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- Parallel sounds.
- Diegetic sound disappears and we only hear the soundtrack- dream/nightmare possibly?
- Diegetic sound resumes abruptly with the squeal of the brakes as he misses the car.
- The CU on ipod reveals low battery (foreshadowing his own life).

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- Past / present
- Cop / Suspect
- DCI in present day is in the middle of a case and suddenly gets hit by a car and wakes up in the 70's as a detective inspector. The case he is working on links back to the modern world.
- Detective led / investigative led.
- Iconography- evidence bag (pics of suspects).
Colin Rames - Stereotype (Hoodie/stubble).