Details
European Television Crime Drama and Beyond
Palgrave European Film and Media Studies
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CHF 165.50 |
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| Verlag: | Palgrave Macmillan |
| Format: | |
| Veröffentl.: | 05.12.2018 |
| ISBN/EAN: | 9783319968872 |
| Sprache: | englisch |
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Beschreibungen
<div>This book is the first to focus on the role of European television crime drama on the international market. As a genre, the television crime drama has enjoyed a long and successful career, routinely serving as a prism from which to observe the local, national and even transnational issues that are prevalent in society. This extensive volume explores a wide range of countries, from the US to European countries such as Spain, Italy, the Scandinavian countries, Germany, England and Wales, in order to reveal the very currencies that are at work in the global production and circulation of the TV crime drama. The chapters, all written by leading television and crime fiction scholars, provide readings of crime dramas such as the Swedish-Danish <i>The Bridge</i>, the Welsh <i>Hinterland</i>, the Spanish <i>Under Suspicion</i>, the Italian <i>Gomorrah</i>, the German <i>Tatort </i>and the Turkish <i>Cinayet</i>. By examining both European texts and the ‘European-ness’ of various international dramas, this book ultimately demonstrates that transnationalism is at the very core of TV crime drama in Europe and beyond. </div>
1. Down these European mean streets:Contemporary issues in European television crime drama, Kim Toft Hansen, Steven Peacock and Sue Turnbull.- Section I: Noir Aesthetics.- 2. Framing Nordic noir: From Film Noir to High-End Television Drama, Audun Engelstad.- 3. The Rise of “Bright Noir”: Redemption and Moral Optimism in American Contemporary TV Noir, Alberto N. García.- 4. Melancholy and Murder: Feelings, Atmosphere and Social Criticism in Television Crime Series, Gunhild Agger and Anne Marit Waade.- 5. Locating sound in UK/US television crime drama: The affective impact of sound effects and music in <i>Happy Valley </i>and <i>Hannibal, </i>Lucy Donaldson.- 6. Seriousness, ordinariness, and “actual police work”: British and American TV crime dramas <i>True Detective, Suspects</i> and <i>Cuffs, </i>Helen Piper.- Section II: Noir Regionalism and Transnationalism.- 7. Local, National, Transnational: <i>Y Gwyll/Hinterland </i>as Crime of/for all Places, Elke Weissmann.- 8. The transnational appeal of the Italian Mafia story, Milly Buonanno.- 9. The Rise of Noir in the Sun: Spanish Crime Drama and Contemporary Television Drama Production, Concepción Cascajosa Virino.- 10. <i>Crime Scene</i> Germany: Regionalism, Audiences, and the German Public Broadcasting System, Susanne Eichner.- 11. Searching for ‘Aura’ in <i>Cinayet</i>: Audience Reception of the Turkish Remake of <i>Forbrydelsen, </i>Yesim Kaptan.- Section III: Noir Market Value.- 12. Local noir and local identity: <i>Norskov </i>and the spatial implications of branded content, Jørgen Riber Christensen and Kim Toft Hansen.- 13. The Flemish TV Market: Crime drama as a driver for market sustainability?, Tim Raats.- 14. <i>Secret City</i> and Micromarkets: The ‘Global Noir Audience’ for Australian Crime Drama, Sue Turnbull andMarion McCutcheon.- 15. Saga’s Story: Emotional engagement in the production and reception of <i>The Bridge, </i>Annette Hill.
<div><b>Kim Toft Hansen</b> is Associate Professor of Scandinavian Media Studies at Aalborg University, Denmark. He is the co-author of <i>Locating Nordic Noir: From Beck to The Bridge</i> (2017) and has written extensively on Nordic written and audiovisual crime fiction.</div><div><br></div><div><b>Steven Peacock</b> is an independent scholar. He is the author of <i>Swedish Crime Fiction: Novel, Film, Television</i> (2013),<i> Hollywood and Intimacy: Style, Moments, Magnificence</i> (2011), and <i>Colour </i>(2010). </div><div><br></div><div><b>Sue Turnbull</b> is Senior Professor of Communication and Media at the University of Wollongong, Australia, and Discipline Leader for the Creative Industries. Her publications include <i>The TV Crime Drama</i> (2014) and more recent research is concerned with the transnational career of television crime series. </div><div><br></div>
This book is the first to focus on the role of European television crime drama on the international market. As a genre, the television crime drama has enjoyed a long and successful career, routinely serving as a prism from which to observe the local, national and even transnational issues that are prevalent in society. This extensive volume explores a wide range of countries, from the US to European countries such as Spain, Italy, the Scandinavian countries, Germany, England and Wales, in order to reveal the very currencies that are at work in the global production and circulation of the TV crime drama. The chapters, all written by leading television and crime fiction scholars, provide readings of crime dramas such as the Swedish-Danish <i>The Bridge</i>, the Welsh <i>Hinterland</i>, the Spanish <i>Under Suspicion</i>, the Italian <i>Gomorrah</i>, the German <i>Tatort </i>and the Turkish <i>Cinayet</i>. By examining both European texts and the ‘European-ness’ of various international dramas, this book ultimately demonstrates that transnationalism is at the very core of TV crime drama in Europe and beyond.
Constitutes the first collected volume with research on popular European television crime drama Engages in crime drama from the all-embracing perspectives of policy studies, production studies, aesthetics and audience research Pioneers the uncovering of parallel transnational trends around and beyond the European continent
“This anthology is a timely intervention in the field of transnational television studies. Seen through a prism of the TV Crime Drama, <i>European Television Crime Drama and Beyond</i>, explores the impact of this genre upon the international market. From Britain through Germany, Denmark and France (to name but a few countries) the authors in this collection interrogate European Crime Drama series from a dizzying array of theoretical impulses. With the funding of the transnational television market in Europe increasingly under Brexit threat, this anthology captures the zeitgeist of the current trade in European television series and offers an incisive and eminently readable account of TV Crime Drama’s place within it.” (Kim Akass, University of Hertfordshire, UK) <p></p>
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