German Crime Dramas From Network Television To Netflix

"Sunka Simon investigates why the emphasis on the uniquely German regional and national themes of Tatort (1970- ), the country's longest-running crime drama that failed to take off internationally, did not hinder Netflix's Dogs of Berlin or Dark from making a splash in the US. That Dark and Perfume were "darkly German" became one of their selling points, rather than a draw back. Through a closer look at the crime drama Simon explores how the broadcast era is connected to Netflix's global reach. Interrogating key concepts and debates in television studies with a foundation in German cultural studies, using archival research, reception and news analysis, German Crime Dramas from Network Television to Netflix makes an important intervention in and addition to the field of U.S./U.K.-centric television studies."--

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.

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 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?’

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.

Explores contemporary uses of letters and letter writing—including electronic mail—in literature, film, and art.

THE BASIS FOR THE INTERNATIONAL TV SENSATION BABYLON BERLIN "Cabaret on cocaine...captures the dark glamour of a briefly exhilarating time between the wars." --NPR Babylon Berlin is the first book in the international-bestselling series from Volker Kutscher that centers on Detective Gereon Rath caught up in a web of drugs, sex, political intrigue, and murder in Berlin as Germany teeters on the edge of Nazism. It’s 1929 and Berlin is the vibrating metropolis of post-war Germany—full of bars and brothels and dissatisfied workers at the point of revolt. Gereon Rath is new in town and new to the police department. When a dead man without an identity, bearing traces of atrocious torture, is discovered, Rath sees a chance to find his way back into the homicide division. He discovers a connection with a circle of oppositional exiled Russians who try to purchase arms with smuggled gold in order to prepare a coup d’état. But there are other people trying to get hold of the gold and the guns, too. Raths finds himself up against paramilitaries and organized criminals. He falls in love with Charlotte, a typist in the homicide squad, and misuses her insider’s knowledge for his personal investigations. And as he gets further entangled with the case, he never imagined becoming a suspect himself. “The first in a series that’s been wildly popular in Germany is an excellent police procedural that cleverly captures the dark and dangerous period of the Weimer Republic before it slides into the ultimate evil of Nazism.”—Kirkus Reviews “Conjures up the dangerous decadence of the Weimar years, with blood on the Berlin streets and the Nazis lurking menacingly in the wings.”—The Sunday Times (London) “James Ellroy fans will welcome Kutscher’s first novel and series launch, a fast-paced blend of murder and corruption sent in 1929 Berlin.”—Publishers Weekly (starred review)

At a convention for the cult science fiction show Beyond Earth, Adrian Monk meets fans as obsessive-compulsive as he is. Though he’s not preoccupied with the program, Monk can understand the phenomenon. Who wouldn’t want to live in an imaginary world? But there may be a killer in the Beyond Earth community: Someone in a starship uniform has gunned down the show’s legendary creator. Could a fan be that furious at him for selling out to Hollywood? Or is more going on behind the scenes? Luckily, Monk’s agoraphobic brother, Ambrose, is an expert on the TV series, and together they’ll search the earth and beyond for the murderer. That is, if Ambrose can bring himself to leave the house. A new story starring Adrian Monk by Edgar® Award-nominated screenwriter Lee Goldberg. It’s compulsive, page-turning fun. “Even if you aren’t familiar with the TV series Monk, this book is too funny to not be read.”—The Weekly Journal