The ‘NYPD Blue’ title sequence transports the viewer to the wild streets of New York as we are immediately thrown into the depths of the urban jungle. However, ‘The Bill’ is obviously set in London even though the viewer is not shown any famous landmarks. However the famous sights of police uniforms and police cars are displayed in the title sequence. In ‘NYPD Blue’, a train hurtles towards the camera from the background to the foreground. The speed symbolises the energy of New York, a 24/7 city that never sleeps. Neon ‘Don’t Walk’ sign flashes as people rush across the road, this image suggesting a city of lawbreakers. The glamour of New York City is flashed before the viewer’s eyes as close up shots of the Twin Towers are juxtaposed with fast moving visual images of New York life.
There is no emphasis on regular characters in ‘The Bill’s’ title sequence; instead the viewer is given a glimpse of anonymous characters. This suggests ‘The Bill’ is not a character led drama but is reliant on the storyline to involve the viewer. We glimpse a policewoman answering calls, symbolising that ‘The Bill’ will focus on real life issues in the day of the Metropolitan Police. There is no glamour or high action scenes. The camera tilts and focuses on a women being thrown into a cell by police officers. This image informs the audience that ‘The Bill’, the police, are in control and that justice will triumph over evil. The silhouetted faces and over-the-shoulder shot let the viewer know that ‘The Bill’ tells a story from a police point of view.
In the ‘NYPD Blue’ title sequence, there is much more focus on the main characters who are shown in various poses. Some are smiling, some are more serious and some are in control or danger. A cross-section of New York society in various poses is flashed across the screen. This emphasis on people suggests the ‘NYPD Blues’ is a character led crime drama about personal experiences.
The signature tune in ‘The Bill’ plays an effective role of drawing its audience to the programme. The tune is attention grabbing and the strong drumbeat symbolises the plodding feet of the force. The wheels of justice are in motion and the music emphasises the seriousness of the storyline. Sirens wail and add a sense of danger and reality. The music reaches a crescendo creating tension for the viewer and coincides with the slamming of a cell door. As the title sequence fades into the new episode the shot of the slamming of the cell door symbolises the long arm of the law and its power to stop crime. The viewer is left in a state of anticipation and thus the title sequence has fulfilled its role. The ‘NYPD Blue’ signature tune places the viewer in New York City. The fast beat of the tune represents a vibrant city and its up tempo mood reflects the energy of New York. A succession of fast action shots adds to this sense of excitement. As in ‘The Bill’, the camera focuses in on the NYPD badge. The viewer knows what the programme is about, there is no mystery, furthermore, both title sequences also concentrate on the location.
The structure of both title sequences is not very similar. ‘The Bill’ has a narrative title sequence, while the title sequence in ‘NYPD Blues’ is much faster paced and consists of a selection of unrelated clips symbolising New York life. The glamorous side of New York is emphasised in the NYPD Blue’s title sequence whereas ‘The Bill’s’ title sequence is more down to earth and closer to reality.
The title sequence of ‘The Bill’ efficiently reaches its target audience of families and viewers who want easy and accessible storylines that require little effort to follow. Like the swiped edit of black and white chequered tape, ‘The Bill’s episodes must be uncomplicated as they are shown at peak times and therefore must appeal to a wide audience that may be uneducated or unsophisticated. Viewers of ‘The Bill’ want instant entertainment without any effort. ‘The NYPD Blues’ series is aimed at a slightly more demanding audience and this is reflected in the title sequence. Its late night viewing slot indicates there may be violence involved. The title sequence is a succession of high-octane camera shots of an adrenaline packed city. The main characters are seen in a glamorous light and the whole package is more glossy and glitzy than ‘The Bill’.
After watching both title sequences, the viewers can have clear expectations of each proceeding programme. ‘The Bill’s’ title sequence gives a snapshot of a day in the life of the Metropolitan Police. The storylines will be grim with little humour and the emphasis is on the power of the police to solve crime. The expectations that are raised by the ‘NYPD Blue’ title sequence are that of a glamorous and laid-back police force, doing a difficult job in an exciting and sophisticated environment. Storylines will be fast and action-packed with a high level of excitement and featuring charismatic actors in the principal roles. Realism comes second to a glossily packaged product, which offers high entertainment and easily understood storylines.
Both title sequences work very well and give the viewer an instant glimpse of what lies ahead. However, the ‘NYPD Blue’ title sequence appears to have a more powerful effect on the viewer. It appears to be more sophisticated and in my opinion it does a better job at attracting its target audience and keeping them interested. ‘The Bill’, however, has a much more simplistic title sequence while still capturing every day Metropolitan Police life in the city of London. It provides an insight in the job of a policemen or policewoman. Viewers who enjoy crime drama will want to carry on watching.