A comparison of the current television series "Miami Vice" with the "film noir" genre of American movies from the forties and fifties reveals many similar elements, such as visual style, mood, theme, and sensibility. "Miami Vice" is set in a large city whose art deco architecture provides an ironic contrast to noir's pessimistic themes. Film noir's techniques emphasize loss, nostalgia, lack of clear priorities and insecurity, and then submerge these self-doubts in mannerism and style. Two selected episodes of "Miami Vice" deal specifically with the criminal "double," a motif often used in later "film noir." One critic has suggested that the core dilemma of the TV show is whether or not the police officers will surrender themselves to the world of vice. In one episode in which the character of Crockett is tracking a cat burglar, the story makes extensive use of doubles linking the detective with both a burglar and a psychotic policeman who is also pursuing the burglar. The climax brings the noir, double, and Jungian psychology themes together. A camera shot frames Crockett with his double, and in the next scene a stark close-up of the criminal's face becomes Crockett's face as the criminal looks away. When the burglar hurls something forward, breaking a mirror, Crockett awakens from what seems to be a dream. The popular television series, "Miami Vice," appears to be continuing the "film noir" tradition into the eighties. References and 18 figures (frames from the television series illustrating the points discussed) are attached. (NKA)