215). For instance, the CSI Miami production team show the season three episode “Lost Son” under unfavorable weather (SPEIER, M., 2002, p. 33). However, photography heads managed to integrate rain in the episode’s narration and embarked on new measures to capture as much natural light as possible (Gray and Lotz, 2011, p. 31).
The set design of CSI Miami organizes and personifies space to differentiate between scenes shot inside artificial set designs and those shot outdoors (Campaiola, 2008, p. 2). For instance, the “Lost Son” shows a precinct within a stunning glass building where CSI investigators collect scientific proof and brainstorm to solve a crime. Here, every specialist is allotted his or her own special, calculated space for work (Fiske, 2010, p. 87). For instance, a coroner gets the freezing room because he deals with mostly dead organic matter that needs preservation, the detective gets a computer area or desk, and the DNA expert gets a lab (OWEN, 2003). Such set designs weave into the show’s narration almost perfectly since they organize character roles and facilitate their effectiveness (MCNUTT, 2011, p. 60). The outdoors set design for the same episode entails Miami city, a metropolitan that harbors many criminals and potential suspects (GELINEAU, K., 2005).
Campaiola, JG 2008, “Why French Television Drama Lags Behind: A Multiperspectival Approach,” Paper presented at the annual meeting of the International Communication Association, TBA, Montreal, Quebec, Canada Online . 2014-11- 10