CSI: Crime Scene Investigation ((2002–2015) CBS, Alliance Atlantis Communications, CBS Paramount Network Television, Jerry Bruckheimer Television.) marks a paradigm shift in the post-9/11 forensic visual culture, ostensibly presenting physical evidence as a system of surveillance and control; the team of criminalists as ideologically complicit with state power; and high-tech forensic gadgetry as infallible and conducive to the culprit. In the melodramatic narrative strands, sophisticated plotlines, and spectacular performances of forensic science, CSI heavily rests on a novel and meticulously elaborated aesthetics that redefines the conception of gaze and camera shot in the weaving of episodes across the different seasons. A more nuanced comprehension of CSI’s visual forensic discourse is, therefore, necessitated to fully understand the cultural significance of these offerings. To this end, extending the work of Kress and Van Leuween on the systems of gaze and social distance in light of the Foucauldian and post-panoptic views on power and control, the article introduces fine-grained taxonomies of the forensic gaze and camera shot as fundamental aesthetics closely tied to post-9/11 extensive surveillance discourse. Resituating CSI in the broader context of the post-panopticon, the study argues that the drama series operates in a hybrid surveillance mode that surpasses conventional readings of panopticism, straddling the line between the physical and the digital in the contemporary age.

CSI：犯罪现场调查（（2002年至2015年） CBS，亚特兰蒂斯通信联盟，CBS派拉蒙网络电视台，Jerry Bruckheimer电视台。）标志着9/11后法医视觉文化的一种范式转变，表面上以物理证据的形式提供了证据。监视和控制；意识形态上与国家权力密谋的犯罪分子团队；和高科技的法医小玩意，这些都是无可厚非的，并有助于罪魁祸首。在戏剧性的叙事串流，复杂的情节线条和法医科学的出色表现中，CSI大量依靠新颖而精心精心设计的美学，重新定义了不同季节的情节编织中的凝视和摄影镜头的概念。对CSI有更细致的理解因此，必须完全了解这些产品的文化意义。为此，根据福柯和后全景的权力和控制观点，扩展了克雷斯和范勒温在视线和社会距离系统上的工作，介绍了法医视线和相机镜头的细粒度分类法。基本美学与9/11后的广泛监视讨论紧密相关。Resituating CSI在后圆形监狱的大背景下，研究认为，电视剧在超过全景敞视主义的传统朗诵，跨越物理和当代年龄的数字之间的线路混合监控模式。