European Television Crime Drama and Beyond [electronic resource] / edited by Kim Toft Hansen, Steven Peacock, Sue Turnbull.
Erişim Adresi
ISBN
9783319968872
Dil Kodu
İngilizce
Yer Numarası
EK/4115
Basım Bildirimi
1st ed. 2018.
Yayın Bilgisi
Cham : Springer International Publishing : Imprint: Palgrave Macmillan, 2018.
Fiziksel Niteleme
XV, 294 p. 8 illus. in color. online resource.
Dizi
Palgrave European Film and Media Studies, 2634-6168
İçindekiler Notu
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.
Özet, vb.
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. .
Konu
Ethnology __ Europe.
Culture.
Motion picture plays, European.
European Culture.
European Film and TV.
Culture.
Motion picture plays, European.
European Culture.
European Film and TV.
Diğer Yazarlar
Kurum Adı
Eseri Alıntıla
Referansları kullanmadan önce gözden geçirmeniz ve varsa gerekli düzeltmeleri yapmanız önerilir.
Dijital Kaynak
MARC Görünümü
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520 |aThis 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. .
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020 |a9783319968872|9978-3-319-96887-2
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041 |aeng
049 |aTürk Dil Kurumu Kütüphanesi
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082 04|a306.094|223
090 |aEK/4115
245 10|aEuropean Television Crime Drama and Beyond|h[electronic resource] /|cedited by Kim Toft Hansen, Steven Peacock, Sue Turnbull.
250 |a1st ed. 2018.
264 1|aCham :|bSpringer International Publishing :|bImprint: Palgrave Macmillan,|c2018.
300 |aXV, 294 p. 8 illus. in color.|bonline resource.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
347 |atext file|bPDF|2rda
490 1 |aPalgrave European Film and Media Studies,|x2634-6168
505 0 |a1. 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.
520 |aThis 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. .
650 0|aEthnology|xEurope.
650 0|aCulture.
650 0|aMotion picture plays, European.
650 14|aEuropean Culture.
650 24|aEuropean Film and TV.
700 1 |aToft Hansen, Kim.|eeditor.|4edt|4http://id.loc.gov/vocabulary/relators/edt
700 1 |aPeacock, Steven.|eeditor.|4edt|4http://id.loc.gov/vocabulary/relators/edt
700 1 |aTurnbull, Sue.|eeditor.|4edt|4http://id.loc.gov/vocabulary/relators/edt
710 2 |aSpringerLink (Online service)
773 0 |tSpringer Nature eBook
776 08|iPrinted edition:|z9783319968865
776 08|iPrinted edition:|z9783319968889
776 08|iPrinted edition:|z9783030403850
830 0|aPalgrave European Film and Media Studies,|x2634-6168
856 40|uhttps://doi.org/10.1007/978-3-319-96887-2
912 |aZDB-2-LCM
912 |aZDB-2-SXL
950 |aLiterature, Cultural and Media Studies (SpringerNature-41173)
950 |aLiterature, Cultural and Media Studies (R0) (SpringerNature-43723)
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