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German Crime Dramas from Network Television to Netflix approaches
German television crime dramas to uncover the intersections between
the genre's media-specific network and post-network formats and how
these negotiate with and contribute to concepts of the regional,
national, and global. Part I concentrates on the ARD network's
long-running flagship series Tatort (Crime Scene 1970-). Because
the domestically produced crime drama succeeded in interacting with
and competing against dominant U.S. formats during 3 different
mediascapes, it offers strategic lessons for post-network
television. Situating 9 Tatort episodes in their televisual moment
within the Sunday evening flow over 38 years and 3 different German
regions reveals how producers, writers, directors, critics, and
audiences interacted not only with the cultural socio-political
context, but also responded to the challenges aesthetically,
narratively, and media-reflexively. Part II explores how post-2017
German crime dramas (Babylon Berlin, Dark, Perfume, and Dogs of
Berlin) rework the genre's formal and narrative conventions for
global circulation on Netflix. Each chapter concentrates on the
dynamic interplay between time-shifted viewing, transmedia
storytelling, genre hybridity, and how these interact with
projections of cultural specificity and continue or depart from
established network practices. The results offer crucial
information and inspiration for producers and executives, for
creative teams, program directors, and television scholars.
As colleges and universities in North America increasingly identify
"internationalization" as a key component of the institution's
mission and strategic plans, faculty and administrators are charged
with finding innovative and cost-effective approaches to meet those
goals. This volume provides an overview and concrete examples of
globally-networked learning environments across the humanities from
the perspective of all of their stakeholders: teachers,
instructional designers, administrators and students. By addressing
logistical, technical, pedagogical and intercultural aspects of
globally-networked teaching, this volume offers a unique
perspective on this form of curricular innovation through
internationalization. It speaks directly to the ways in which new
technologies and pedagogies can promote humanities-based learning
for the future and with it the broader essential skills of
intercultural sensitivity, communication and collaboration, and
critical thinking.
As colleges and universities in North America increasingly identify
"internationalization" as a key component of the institution's
mission and strategic plans, faculty and administrators are charged
with finding innovative and cost-effective approaches to meet those
goals. This volume provides an overview and concrete examples of
globally-networked learning environments across the humanities from
the perspective of all of their stakeholders: teachers,
instructional designers, administrators and students. By addressing
logistical, technical, pedagogical and intercultural aspects of
globally-networked teaching, this volume offers a unique
perspective on this form of curricular innovation through
internationalization. It speaks directly to the ways in which new
technologies and pedagogies can promote humanities-based learning
for the future and with it the broader essential skills of
intercultural sensitivity, communication and collaboration, and
critical thinking.
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