| Abstract: | This paper takes a revisionist look at the first episode of Prime Suspect (1991–2006)—hereafter known as Prime Suspect (1)— in what was to become a cycle of dramas, conceptualised, and in the first instance, written by Lynda La Plante, based upon the female Detective Chief Inspector character, Jane Tennison. Critical attention has hitherto tended to shift away from Brunsdon's (2000) ground-breaking work on Prime Suspect (1)'s “equal opportunities discourse” toward critiques which emphasise its noir, hardboiled and literary, traditions. The paper thus seeks to rehabilitate Prime Suspect (1)'s televisual—rather than derived—lineage, in an adapted form of dramatised documentary practice. By using insights drawn from Kristevan psychoanalytic analysis I undertake an analysis of the programme in order to demonstrate how the masculine police series drama genre may be not only intervened, but is ultimately deconstructed by, the abject female body. |
