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This book is a comprehensive study of peripheral locations in
contemporary European TV crime series. Ambitiously, it covers the
complete geography of Europe, and offers a nuanced image of a
changing, dynamic, and unfinished continent. The chapters include
analyses of the practical, creative approach to producing crime
series in European peripheries and rural areas, evaluating a
continent marked by an internal crisis between urban and rural
Europe. The study includes readings of crime series such as
Shetland, Bitter Daisies, Trom, Pagan Peak, and The Border, but
presents such representative cases within broader tendencies on the
European TV market, including challenges from streaming services,
the influence of Nordic Noir, and changes within the cognitive
geography of Europe. The authors position peripheral European crime
series in a complex relationship between universal appeal and local
recognisability and offer a comprehensive theoretical approach to
the aesthetics of peripherality. Grounded in desktop production
studies, the book presents an original scholarly approach to
analysing European crime series from a continental point of view.
Despite local differences, the spatio-generic orientations
scrutinized in the book – Nordic Noir, Mediterranean Noir,
Country Noir, Eastern Noir, and Brit Noir – show remarkable
aesthetic similarities in series from territories otherwise
normally unconnected in television production. Consequently,
television crime series reveal a common tongue and voice for
dialogue on a continent in a deepening crisis.
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 The Bridge, the Welsh
Hinterland, the Spanish Under Suspicion, the Italian Gomorrah, the
German Tatort and the Turkish Cinayet. 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. Â
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 The Bridge, the Welsh
Hinterland, the Spanish Under Suspicion, the Italian Gomorrah, the
German Tatort and the Turkish Cinayet. 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.
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.
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