Hogan's Blog #7

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 21^st 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.