European Television Crime Drama and Beyond
| Coauteur: | |
|---|---|
| Andere auteurs: | , , |
| Samenvatting: | XV, 294 p. 8 illus. in color. text |
| Taal: | Engels |
| Gepubliceerd in: |
Cham :
Springer International Publishing : Imprint: Palgrave Macmillan,
2018.
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| Editie: | 1st ed. 2018. |
| Reeks: | Palgrave European Film and Media Studies,
|
| Onderwerpen: | |
| Online toegang: | https://doi.org/10.1007/978-3-319-96887-2 |
| Formaat: | Elektronisch Boek |
Inhoudsopgave:
- 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 Happy Valley and Hannibal, Lucy Donaldson
- 6. Seriousness, ordinariness, and “actual police work”: British and American TV crime dramas True Detective, Suspects and Cuffs, Helen Piper
- Section II: Noir Regionalism and Transnationalism
- 7. Local, National, Transnational: Y Gwyll/Hinterland 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. Crime Scene Germany: Regionalism, Audiences, and the German Public Broadcasting System, Susanne Eichner
- 11. Searching for ‘Aura’ in Cinayet: Audience Reception of the Turkish Remake of Forbrydelsen, Yesim Kaptan
- Section III: Noir Market Value
- 12. Local noir and local identity: Norskov 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. Secret City 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 The Bridge, Annette Hill.