I complemented by camera work. When watching the

 I have chosen
the genre “Crime Fiction”, which is one of the most popular genres in today’s
time. Essentially, it has segments of some crime, example murder and may
frequently have motives, suspects, witnesses, detectives, criminals and
punishments. Such stories usually hold suspense in them and this genre usually
gets paired and related with “Suspense” and “Thriller”.

Women watch more Crime dramas than Men and are more ‘bloodthirsty’
in genre choice. The Young adults and late teens are the target audience of
Crime and Thrillers even though this genre may appeal to older crowds as well. Breaking Bad’s target audience was White
males around age 19-49 and more males than women.  It wasn’t targeted to kids and more Americans
watched it. Lot of Mexicans and Black-Americans also watched it. There is
display of many mature themes like the details given to making of the drugs, so
we know age 17 and above are targeted.         

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Crime Fiction also
provides glimpses of the dark side of the society to the readers and shown some
insights on hoe people of different cultures perceive their own social  conditions and political climates at that
point of time.

Bad (AMC,
2008-2013) dramatizes the rise and fall of Walter White, the
popularity of the TV series can simply be attributed to the excitement and
pleasure surrounding an average high school chemistry teacher’s secret life as
a drug kingpin. It boasts a perfectly created atmosphere of dissipation,
criminality and that omnipresent shady part of the everyday life that most of
us never notice or pretend that it does not exist. This show convinces the
audience that they are peeking through a keyhole at a dangerous and vicious
world.I contextualize and conduct a textual analysis of this acclaimed television
series as a case study that demonstrates the increasingly complex construction
of complex identity in contemporary television. This study refers to the
reception of specific characters among critics and audiences, as well as
investigates the ways in which the setting and depiction of ethnicities
influence representations of masculinity. Calling for attention to the apparent
lack in complex studies on television, the male representation in Breaking
Bad suggests that men are not merely experiencing a crisis of their
masculinity in contemporary society, but demonstrates that there is a problem
with uniform white, heterosexual representation of masculinity on TV. The
intense atmosphere is masterfully complemented by camera work. When watching
the first episodes of season one, I was amazed by the configuration of scenes,
the choice of shooting points and foreshortening, colours, forefront and background
work, and the different components in the frame.

The storyline is another huge advantage of “Breaking
Bad.” A story of a regular chemistry teacher whose measured and blurred life was
ruined in one day by the news that he has incurable cancer changes him into
being a chemist. Walter White believes that a human being is nothing but a
layout of molecules, with all the respective consequences: no heaven, no hell,
no afterlife retribution, no real significance of human life. Nothing to lose
too; the title of the show hints at what is going on in Walter’s head after he
learns about his disease and the understanding that his life is going to end
soon, and that he has always lived in a way he didn’t want to. What comes out
of it is told in five seasons, and this story is theatrical and attractive.

Yet another component of “Breaking Bad” is its
characters. Perhaps you are already fed up with one-sided, clichéd vanilla
heroes, or insane, evil masterminds that Hollywood inserts in almost every
movie it produces. Such characters have no depth, no inner conflict, no
plausibility as well as their actions basically triggers the plot forward, and
allows movie directors to demonstrate new stunts and effects.”Breaking Bad” is
different; each character is a personality, with his or her own motives,
problems, thoughts bugging them, life situations demanding their response, and
so on. Each of these characters, even if he or she is secondary and appears
only for a couple of episodes, is thoroughly exposed, so the show makes you
believe he or she is real. Moreover, each character is complex, meaning that good
and evil intentions, desires, motives, and thoughts constantly intertwine and interact
within them, defining their behaviours—like all of us. Within television
serials, viewers are often reminded of their past feelings of empathy in previous
episodes through starting new episodes with recaps, which, however, can also
hold certain memories and thus manoeuvre viewers to assume a certain approach
to characters.

Thus, the finale of Breaking Bad’s fourth
season begins with a “previously on Breaking Bad”-sequence, in which
Jesse, an assisting character, witnesses drug lord Gustavo Fring visit his old
enemy, Hector Salamanca, at the nursing home where he lives due to being
paralysed, to ridicule him: “All dead. As is your grandson”. The viewer
is  instantly evoked of the
vindictiveness of Fringe’s character re-establishing him as the rival.The
former scene of course proves to be relevant to the episode as it shows the
situation where Walter is the bad guy as he oppresses Jesse into killing one of
Fring’s employees, the skilful chemist Gale, because he poses a threat to
Walter’s superiority within methamphetamine production. A dynamic relationship
is maintained between the viewer and the character.The more insight we gain
into the character, and his/hers inspirations, opinions and moral values, the
more interest we take in him/her. Character engagement is crucial to television
serials, since the span of the description is much longer than in films, and
thus calls for characters urging enough to make viewers return each week.
Moreover, narration plays an important role in terms of guiding the viewer
response as the “ultimate organizer” , which can work to both stopping the
viewer from engaging in a character through withholding information about
him/her, as well as encourage engagement through emphasising certain lookout of
a character to make him/her more favourable than other characters.

Similar to their rocky and
dysfunctional father-son relationships, marital bonds are equally deranged and destructive
in this series. In some male-cantered dramas like Breaking Bad and Dexter,
the marriage is already over when the series starts and it depicts the
character’s struggle to rekindle their relationship.

The marriage of Breaking Bad’s
Walter and Skyler White is cursed by problems. In what primarily seems to be a
mostly compassionate marriage of a restrained husband and a dominating wife,
their relationship begins to the formation of Walt’s transition into crime. As
Walt begins to cook crystal meth he rediscovers his self-esteem and uses that
newfound strength to disrupt the power distribution in their household.

Contrary to White, the series explores in more detail the
conflict between White’s former student and meth-cooking partner, Jesse
Pinkman, with his upper middle-class parents, who was thrown out from their
family home after his numerous drug escapades. His secret life becomes
increasingly important to Walt, and so he gradually takes the place of his son.
Due to the fact that Walt cannot converse his secret activities with anyone
else but Jesse, their bond becomes more important over the course of the
series. Jesse was a poor student and talented artist who used to draw his high
school friends as comic book characters. At various times during his harrowing
experiences in Breaking Bad, Jesse’s kind heart and nurturing traits
resurface, such as the way Jesse treats children and how he cared for his dying
aunt. Ultimately, Jesse turns his back on his parents and begins to treat Walt
as surrogate father. However, Walt’s relationships to both his biological and
surrogate son prove highly dysfunctional. Despite his pointless efforts to be
an ideal father to whom his son can admire, Walt’s initially subdued pride and
egotism gradually become major obstacles in his parental relationship. To Walt,
a good father is synonymous with being the family’s beloved provider and
patriarch, but he was not compatible enough meet those standards. Although
Walter Jr. seems to favour his father over his mother, Walt and Walt Jr. do not
spend a lot of time together or participate in any father-son activities. Aside
from providing rides to and from school and the occasional breakfast and dinner
scenes, Walt had no dialogue with his son. His dream of a successful drug
empire drew him further from his family, and although Walt gained respect and
power in his job as meth cook, he was absent for his son’s sixteenth birthday
and his daughter’s birth.Eventually, everything in Walt’s life revolved around
money and his desire to be his family’s sole provider. However, this created a
rift in the family as his criminal career begins to swallow his life as father
and husband. Despite Breaking Bad’s premise of a would-be drug baron
driven by social and economic forces, Gilligan does not perceive his series as
a cultural critique. A definite distaste against Walter did not occur, however,
as the alignment with his character was so strong that the viewer remains
engaged in and loyal to Walter, despite the fact that he has truly become an
unsympathetic anti-hero. In other words, the elucidation of the character of
Walter is so compelling that the viewer is held captive by his power and
charisma, apparent in the trademark dark humour of the serial, which provides
both relief from the on-screen violence, as well as reminds the viewer of
Walter’s humanity and ‘former life’ as an underdog. And of course, violence and
total intolerance, so to say. There is probably no other show that would depict
our everyday reality with such cruelty, and with a few filters. This is a
breath of fresh air for many viewers, tired of endless action, perfectly
appropriate in terms of political correctness, and cautious in showing violence.