German crime dramas from network television to Netflix:
"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....
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Bloomsbury Academic
2023
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "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." |
| Beschreibung: | X, 347 Seiten Illustrationen |
| ISBN: | 9781501368721 |
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| 520 | 3 | |a "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." | |
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Datensatz im Suchindex
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CONTENTS List of Figures viii Acknowledgments ix Introduction 1 Screening Globally, Watching Locally 6 The Long Life of Crime: Lessons for Post-Network Television 12 Program Guide 18 PART ONE Network Television 1 History and Format of the Crime Series Tatort (Crime Scene) (ARD, 1970-) 27 Innovating within the Tried and True 30 Intersections of National, Regional, and Local Viewing 34 Tatort Tourism 36 “Close to Reality” 39 2 Following the Flow: The National News, Regional Crimes, and Global Literacy 41 3 Tatort Hamburg (NDR) 48 “Rechnen Sie mit dem Schlimmsten!” (“Worst-Case Scenario,” dir. Peter-Schulze Rohr; NDR, September 24,1972) 49 “Voll auf Hass” (“Committed to Hate,” dir. Bernd Schadewald; NDR, November 8,1987) 62 “Auf der Sonnenseite” (“On the Sunny Side,” dir. Richard Huber; NDR, October 26,2008) 73
vi 4 CONTENTS Tatort Berlin (SFB/RBB) 86 Berlin in the Crosshairs of Films and Television 86 “Keine Tricks, Herr Bülow” (“No Tricks, Mr. Bülow,” dir. Jürgen Roland; RBB/SFB, May 28,1989) 89 “Berlin, beste Lage” (“Berlin, Top Location,” dir. Matti Geschonneck; RBB, January 10,1993) 103 “Eine ehrliche Haut” (“An Honest Skin/Man,” dir. Ralph Bohn; RBB, January 4,2004) 114 5 Tatort Dresden and Leipzig (NDR/MDR) 127 “Taxi nach Leipzig” (“Taxi to Leipzig,” dir. Peter-Schulze Rohr; NDR, November 29,1970) 130 “Jetzt und Alles” (“Now and Everything,” dir. Bernd Böhlich; MDR, July 31,1994) 148 “Todesstrafe” (“Death Penalty,” dir. Patrick Winczewski; MD R, May 25,2008) 162 Conclusion 177 Regions and/as Mediascapes 179 PART TWO Netflix 1 Introduction 183 Converging on Crime 183 Netflix and the German Mediascape 186 From Berlin Alexanderplatz (1980) to Babylon Berlin (Netflix/Sky/ ARD, 2017-) 193 Fernsehfilm, Limited Series, and Period Drama 197 Unofficial US Format Adaptations and Cultural Authenticity 200 Transnational Casting and Production Practices 202 2 Crime Time: Dark (Netflix, 2017-20) 204 Dark Synopsis 206 Transmedia Families 207 Time-Shifting as a Post-Network Formal and Narrative Device 213 Experimenting with Television: The Bunker/Children’s Room 220 The Modular Architecture of Post-Network Original Language Crime Dramas 230
CONTENTS 3 vii Relational Memory: Perfume (Netflix, 20 1 8 ) 257 Switching Channels: Domestic Rivals on Netflix 257 Waxing Nostalgie: Perfume, Postmemory, and Restorative Nostalgia 265 Peripheral Adjacencies: Welcome to Fargo, Germany 268 Relational Memory and Micro Flows in Transmedia Television 271 Abandoned Futures and Ruined Pasts 277 4 Watching National German Television on Netflix: Dogs of Berlin (Netflix, 2018-) 283 Dogs of Berlin Synopsis and Narration 283 Reproducing the East as Homeland 289 Violent Crime as Authentication Factor 292 “Kaiserwarte”: Surveilling Bodies in Motion 295 Transmedia Migration as White Male Privilege 299 The Illusion of Liveness: Watching Soccer with Neo-Nazis 302 Conclusion 312 Bibliography 317 Index 325 |
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| spelling | Simon, Sunka Verfasser (DE-588)173718698 aut German crime dramas from network television to Netflix Sunka Simon New York Bloomsbury Academic 2023 X, 347 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier "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." Netflix Inc. (DE-588)1036416135 gnd rswk-swf Tatort Fernsehsendung (DE-588)4117173-1 gnd rswk-swf Fernsehserie (DE-588)4154072-4 gnd rswk-swf Kriminalfilm (DE-588)4033175-1 gnd rswk-swf Deutschland (DE-588)4011882-4 gnd rswk-swf Television crime shows / Germany / History and criticism Tatort (Television program) / History and criticism Émissions criminelles télévisées / Allemagne / Histoire et critique Media studies,Television,Germany Television crime shows Germany Deutschland (DE-588)4011882-4 g Fernsehserie (DE-588)4154072-4 s Kriminalfilm (DE-588)4033175-1 s Tatort Fernsehsendung (DE-588)4117173-1 u Netflix Inc. (DE-588)1036416135 b DE-604 Erscheint auch als Online-Ausgabe, PDF 978-1-5013-6870-7 Erscheint auch als Online-Ausgabe 978-1-5013-6871-4 Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034718166&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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