Blog 3: Veronica Mars and Structural Analysis

After reading, Critical Approaches To Television Studies, by Graeme Burton, I decided to apply the theoretical approach of ‘structural analysis’ to the pilot episode of Veronica Mars.  According to Burton, structural analysis consists of two concepts, syntagm and oppositions. Another expert in the field, Lorimer, refers to these concepts as “the underlying pattern both of single texts and of genres”  (Burton 31).  In the pilot episode of Veronica Mars, these components of the theory become clearly illustrated.

A syntagmic relationship consists of different signs, which occur consecutively or simultaneously, in order to convey an underlying message or create a narrative. As Burton discusses in the reading, the Veronica Mars pilot, strategically structures certain shots, sequences, and scenes in specific ways in order to convey a certain message (Burton 31). The scene sequence that the producer decides to open the episode with really sets the tone for the rest of the show.  The flashbacks builds mystery and hooks the viewers to stay tuned for more (Gallo).

Within the first few minutes of the episode, viewers are introduced to a series of narrative techniques. The opening night time scene premiers by showing a neon glowing setting outside of the ‘Camelot Motel ’, while a voiceover of Veronica is   talking during filming (“These Questions”). The audience is left questioning who Veronica may be, and why is the scene being shot at a motel. The camera then panels over to show Veronica parked in her car spying on a couple’s silhouette that is illuminating in one of the motel’s bedrooms. This sequence of events is successful in creating a mysterious, attention catching scenario. After the initial opening, Veronica begins to talk more about herself, and gives the viewers hints foreshadowing things to come. The audience then realizes that it is really a midpoint in the show, and we embark in a flashback that takes us back to the previous day. However, to avoid confusion, Veronica Mars’ narrates to the audience that the story is rewinding so it makes it easier to follow the plot (“These Questions”). The objective of this technique is to capture the audiences’ attention more. The producer creates a questionable and mysterious scenario from the beginning, and the viewers are left wondering why she is at the motel, who she is spying on, and why is she portraying herself as such a loner. It is important to realize how the syntagmic relationships  are weaved into the show, and why they are key in organizing the viewers understanding and perception of the show, portrayed in a way that the producers wanted(Burton 31).

Oppositions may be “most obviously symbolized by opposing protagonists –heroes and villains- “ and using them to form ideas and plot lines (Burton 31). As Burton touches on in the reading, the way in which the producer chose to introduce the show’s heroine’s, like Veronica or Wallace, or portray the villains, like Logan and the biker gang, have a significant meaning.  The way in which the storyline is structured produces a reaction from the audience that is reflected from the characters actions (Burton 31). It is important to realize that there are two different sets of emotions, one from the viewer, and one from the characters, that play off of each other. An example of this is the scene in which Wallace is duck taped to a pole with the word “snitch” written on his chest. Veronica decides to not play into the bullying, laughing crowd, and rather heroically cut him down (Gallo). Veronica and Wallace’s characters in the show are frowned upon and made fun of during this scene; however, the audience is feeling something completely different about them. The audience sees Veronica as doing a heroic gesture, and Wallace as brave for going against the crowd in order to be put in this type of situation. The show illustrates the opposing views between the characters’ and audiences’ emotions. The Veronica Mars’ pilot episode is filled with numerous narrative techniques and a strong structural analysis, which sets the show up for being so successful.

Work Cited:

Gallo, Phil. “Veronica Mars”. Web. 19 Sept. 2004. UPN+show+with+cinematic+ambition%22>.

“These Questions Need Answers: An Essay on the Veronica Mars Pilot « Just TV.” Just TV. Web. 20 Jan. 2011. <http://justtv.wordpress.com/2009/08/10/the-questions-need-answers-an-essay-on-the-veronica-mars-pilot/&gt;.

Burton, Greene. “Critical Approaches to Television Studies.” Talking Television (2000). London: Arnold.