Hawaii 5-0: Past and Present
When people
think of paradise, the first thought and vision in their heads is probably
Hawaii. Hawaii is one of the world’s major tourist destinations. Loyal and
committed locals vigorously maintain Hawaii’s deep cultural heritage. Millions
of tourists visit the Hawaiian Islands yearly, but some riff raff can sneak
their way into this island paradise. For decades, law enforcement, plighted
with this fact, work diligently to eradicate the islands of the villainy to
keep them safe for many more years of hospitality and relaxation. The depiction
of the heroic efforts of the men and women in blue, although fictitious in
nature, has been the work of great entertainment minds of the television
industry.
Probably
the most memorable show in Hawaiian television history is none other than the
remarkable twelve-season phenomenon Hawaii Five-O. The original series showed
on CBS from 1968 to 1980. The show’s popularity may have coined the phrase,
“5-0,” to refer to the police or police in the area. Recently, Hollywood
revived the Hawaii Five-0 legacy in a new crime-drama of the same name, which
piloted in 2010. This essay will focus on the comparison and contrast of both
the original series opening title sequence and the 2010 version.
The
original series first aired on September 20, 1968 with the first few seconds of
the opening sequence picturing a gigantic wave and the beginning of a theme
song that carved itself into the minds of people forever. Following the beliefs
and impressions mainlanders associated with Hawaii, the creators of the opening
sequence filled people’s imaginations with water, ocean, island, and paradise.
It was a picture of what people expected to see if they were to travel to
Hawaiian, as were most to the clips and images shown throughout the one-minute
montage. Using innovative technology, for the period, technicians were able to
piece together captivating images of Hawaii and the attraction associated with
visiting this paradise in the middle of the Pacific.
The first
fifteen seconds did nothing but capture the viewing audience’s attention with
landmarks and scenery that screamed to them, “We are in Hawaii!” The imagery
was aerial footage of waves, Diamondhead Crater, various beaches and marinas
overlooked by the Ko’olau Mountain Range, Aloha Tower, and a zoom up to the
penthouse balcony of the Ilikai Hotel. This rapid scrolling of photographic
imagery hinges of the concept of media content and media grammar as described
by Joshua Meyrowitz in his essay, Multiple Media Literacies. The images captivate
the audience showing pictures of indigenous landmarks and associative concepts
and impressions. Next we get a very close up view of the main character Steve
McGarrett played by Jack Lord. This full face, close-up view plays on media
grammar, which in this case gives a personal relationship between the audience
and the protagonist of the show. This same up close and personal approach committed
the other three characters shown during the next 35 seconds to the audience’s
memory.
The fast
paced switching of the images on the screen allows the creators to give to the
audience as much information as possible in the short sixty seconds allotted for
an introduction, and an appeal to as many demographics as possible. The editors
maintained a good balance between associative, informational, historical, and
advertorial imagery while highlighting the stars of the show with full frame
facial pictures of the cast. Once the director captured the minds and imprinted
on them the images that would put a viewer in a Hawaiian mindset, he quickly
shows the main character headshot, and then transitions to other photos that
would act as an appellate to other demographics. The frame of a beautiful young
woman running along the beach portrays beauty, sun, fun, and relaxation in only
a couple of seconds. The next demographic is the patriotic audience either
older or middle-aged by showing images of the National Memorial Cemetery of the
Pacific and a close up on the symbolic feminine figure for the United States,
Columbia. The next appeal is to the travelers thinking of planning their next
vacation here, the jet airliners. At the time the show first aired, jet travel
to Hawaii had only been around for less than a decade. Not only does this say,
“This is how you get to our paradise,” the images of the airliners may also
indicate the accessibility Hawaii now is to a variety of local, national, and
international crime.
The
beautiful sunsets seen only from the island beaches of Hawaii occupies the next
short scene. The beauty and the glory of the sunset express the serenity and
tranquility found here, but this also signifies the transition from day to
night and the image of a Tahitian dancer. Tahitian dancing, recognizable be the
fast hip shaking movements of the performer, should not be confused with the
Hula, which is a slower more methodical or ritualistic dance. Following the
dancer, the last few seconds of the introduction veers away from the beauty and
tranquility into the exciting and action packed nightlife many detectives face
when fighting the criminal elements. They quickly show the rest of McGarrett’s
team: the partner, Danny played by James MacArthur, the Hawaiian muscle, Kono
played by Zulu, and the behind-the-scenes detective, Chin Ho played by Kam
Fong. The entire sequence, masterminded to show paradise and the protectors of
paradise, is what much of the 2010 sequence conveyed to new audiences in a
shorter time frame.
The reason
behind the ability to appear to convey more information in a shorter opening is
the advancements in the technology involved in the production of 21st
century television programs. The new technology allows the same multitude of
rapid imagery by placing multiple photos and scenes on one screen. The
representation of the new technology is visible from the very first millisecond
a viewer begins to watch the program illustrated by the view through a digital
camera viewfinder. The camera simulation utilized throughout the entire thirty
seconds of the opening song generates the ease of transition from image to
image and crime scene analysis done by detectives and forensic scientists.
The images
displayed to the audience closely relate to those used in the original series.
The only difference between some of them is the shot from a different angle
giving the audience a new perspective of an old show. The big wave in the
beginning of the show views from a different angle, but preceded by familiar
imagery in the 2010 adaptation tying it to the original episode: the beaches,
hotels, and aerial view of downtown Honolulu, and added a shot of the U.S.S.
Arizona and U.S.S. Missouri in Pearl Harbor. There is still an appeal to a sexy
paradise shown by the woman on the beach, but now, because of the changes in
what is acceptable viewing material on television and the change in female
swimwear, she wears a bikini instead of the cover everything dress. Depicted by
all characters, except Jack Lord, from both shows are scenes that involve some
type of action sequence. The local muscle portrayed by Kono, the big strong Hawaiian
male, is now a fierce fighting woman showing the evolution of female characters
in television roles. Grace Park’s role also supports the movement of women’s
ongoing determination to prove that they can function successfully in dangerous
situations as well as a man.
Another
image that links past and present is Columbia at the National Memorial Cemetery
of the Pacific appealing to the patriotic and the veterans. New images added to
the 2010 sequence are the King Kamehameha statue in front of the Supreme Court
building, clips of surfers and windsurfers, and palm trees. These images
significantly tie the concept and ideas of what is and happens here in Hawaii
to what viewers may know and visualize. A major addition is the change in the
airport sequence. The 1970s version relays the new avenue used to travel to the
island paradise; while in 2010, Hawaiian Airlines, as noted by the shot of the
picture of the tailfin of one of the aircraft, is a well-established and
respected method of travel to Hawaii. The characters display the new casual
look of a modern detective versus the professionalism associated with a suit
and tie back in the ‘70s. The new opening incorporated new technology,
bulletproof vests and 9mm semi-automatic pistols, while the older version
showed a revolved and a shotgun.
Both
sequences, and their use of the modern technology for their respective times, impress
the viewer relaying the message the creator may have wanted to display. It
could be Hawaii is a very beautiful, serene, tranquil, and relaxing environment
and culture to visit, but there is a pressing need for its preservation to be
protected from all illegal and immoral influences that may try to hinder the
growth of the state socially, economically, and politically locally, nationally,
and internationally.
The biggest reason to hate political leaders and their campaigns and speeches is because everything they say is just a lie to get you to vote for them. Seriously, if we look back at all of our past leaders and elected officials, when was the last time any of them the American voters that they were going to do something and it actually got done.
Election 2004: GW gets re-elected. Right after he got elected, BOOM!!!!!!, national crisis and an excuse to go over to the middle east and finished what daddy started. Corner the oil market, by claiming that Hussein has hoarding "Weapons of Mass Destruction" and his accomplice is hiding out in Afghanistan. We got Hussein, but Bin Laden at large. Okay, so now let's get involved in a "War on Terror." WTF? Really? Let us tell you the same thing we told your daddy. Holy War!! Leave it alone. We have bigger problems on the homefront to deal with.
Election 1996: Clinton re-elected. Yea, someone who is actually doing something about the defecit and the American economy is booming. New laws are being passed and people are starting to enjoy life a little.
Election 1992: George, what are you doing? We thought you would keep up appearances like Reagan, but we have our own oil!! Hello, let them kill themselves. Who cares about the middle east? They have been locked in a holy war for MILLENIA!!!!!
