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This book is a comprehensive study of Nordic Noir television drama
from the 1990's until today. The authors introduce the history of
contemporary Nordic Noir from the perspective of place, production
and location studies. The chapters include readings of well-known
television crime dramas such as Beck, The Killing, Trapped and The
Bridge as well as a range of other important Nordic Noir cases. The
authors position the development of Nordic Noir in the global
market for popular television drama and place the international
attention towards Nordic crime dramas within regional development
of drama production in Sweden, Denmark, Norway and Iceland.
Consequently, Nordic Noir is read as both a transnational financial
and creative phenomenon and as a local possibility for community
building. Offering a comprehensible, scholarly and methodologically
original approach to the popularity of Nordic television crime
dramas, this volume is aimed at readers with an interest in crime
drama as well as scholars and students of television drama.
This book explores how to understand the international appeal of
Danish television drama and Nordic Noir in the 2010s. Focusing on
production and distribution as well as the series and their
reception, the chapters analyse how this small nation production
culture was suddenly regarded as an example of best practice in the
international television industries, and how the distribution and
branding of particular series - such as Forbrydelsen/The Killing,
Borgen and Bron/The Bridge - led to dedicated audiences around the
world. Discussing issues such as cultural proximity,
transnationalism and glocalisation, the chapters investigate the
complex interplays between the national and international in the
television industries and the global lessons learned from the way
in which screen ideas, production frameworks and public service
content from Denmark suddenly managed to travel widely. The book
builds on extensive empirical material and case studies conducted
as part of the transnational research project 'What Makes Danish
Television Drama Travel?'
From the highly influential concept of 'staged authenticity'
discussed by Dean MacCannell, to the general claim of longing for
authenticity on behalf of all Western consumers, made by Joseph
Pine and James Gilmore, it is obvious that the concept of
authenticity is still worth considering. This ground-breaking book
re-thinks and re-invests in the notion of authenticity as a surplus
of experiential meaning and feeling that derives from what we do at
/ in places. In Re-investing Authenticity - Tourism, Place and
Emotions international scholars representing a wide range of
disciplines, examine contemporary performances of authenticity in
travel and tourism practices: From cultural place branding to
individual pilgrim performances; from intensified experiences of
imaginary crime scenes to the rhetorical features of the encounter
with the traumatic and; from photography performing memories of
place to experiences of wilderness producing excitement, this book
demonstrates how the feeling of authenticity within places is
produced.
This book explores how to understand the international appeal of
Danish television drama and Nordic Noir in the 2010s. Focusing on
production and distribution as well as the series and their
reception, the chapters analyse how this small nation production
culture was suddenly regarded as an example of best practice in the
international television industries, and how the distribution and
branding of particular series - such as Forbrydelsen/The Killing,
Borgen and Bron/The Bridge - led to dedicated audiences around the
world. Discussing issues such as cultural proximity,
transnationalism and glocalisation, the chapters investigate the
complex interplays between the national and international in the
television industries and the global lessons learned from the way
in which screen ideas, production frameworks and public service
content from Denmark suddenly managed to travel widely. The book
builds on extensive empirical material and case studies conducted
as part of the transnational research project 'What Makes Danish
Television Drama Travel?'
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