Search Results

1 - 10 of 118 items :

Clear All

References Akbar, Arifa. “What’s the meaning of ‘chick-noir’? Week in Books.” The Independent. 17 July 2014. Web.10 March 2015. “Before We Met.” Publishers Weekly 4 November 2013. Web. Academic OneFile. 27 November 2016. Cain, James M. Double Indemnity. 1943. New York: Vintage, 1989. Print. Chandler, Raymond. The Big Sleep. 1939. New York: Vintage, 1992. Print. Crouch, Julia. “Genre Bender.” Julia Crouch. 25 August 2013. Web. 24 January 2017. Feit, Gloria. Review of The Silent Wife, by A. S. A. Harrison. Reviewer’s Bookwatch Feb 2014: 9. Web. Academic OneFile. 10

Introduction As a generic brand, Nordic Noir has been instrumental for the market penetration of various new players and streaming services in the Nordic region and beyond. In various ways, Nordic Noir has influenced the narrative and stylistic development in new television crime dramas, most significantly in pushing crime shows on television from a mostly episodic structure to a serial plot structure, as well as opening a new tendency towards a revised aesthetic of popular television crime series ( Creeber, 2013 ; Hansen, 2020a ; Imre, 2018 ). Of course

Works Cited Abrams, Amanda. “Chevy Chase DC: Not to Be Confused with the Other Chevy Chase.” Urban Turf 18 Aug. 2011. Web. 17 Apr. 2020. Acosta, Cesar, Amy Combs, Andres Junca, and Nik Papas. “A Definition in Progress: A Case Study of Washington D.C. 1800-2015.” Foundations of Planning , 2015. Web. 17 Apr. 2020. Asch, Chris Myers, and George Derek Musgrove. Chocolate City: A History of Race and Democracy in the Nation’s Capital . Chapel Hill: U of North Carolina P, 2019. Boozer, Jack. “The Lethal Femme Fatale in the Noir Tradition.” Journal of Film and Video

References Borde, Raymond and Etienne Chaumeton. 2002. Toward a Definition of Film Noir. In A Panorama of American Film Noir: 1941-1953. San Francisco: City Light Books. Buchanan, Ian and Patricia MacCormack. 2008. Deleuze and the Schizoanalysis of Cinema. New York: Continuum. Glitre, Kathrina. 2009. Under the Neon Rainbow: Colour and Neo-Noir. In Neo- Noir, eds. Mark Bould, Kathrina Glitre, and Greg Tuck. London & New York: Wallflower Press. MacCormack, Patricia. 2008. An Ethics of Spectatorship: Love, Death and Cinema. In Deleuze and the Schizoanalysis of

). Twinned with Appadurai's (1996) metaconcept of “scaping”, which helps us understand the disjunctures and differences of global culture, especially via mediated formats, I interrogate how these two series have adapted particular geovisual elements of what I deem the “near Nordic Noir” style. In doing so, I focus more explicitly on geopolitical questions and various dimensions of (state) power, linking Occupied and Nobel to such fare as Borgen (2010–2013), Blue Eyes (2014), and Below the Surface (2017–), each of which exemplifies the growing trend towards the

Introduction Over the past two decades, Nordic television drama has seen a significant leap in popularity and critical attention. Driven initially by the success of screen adaptations of literary crime thrillers like Wallander (2005–) and the Millennium trilogy (2009–2010), international broadcasters and distributors have raced to create television dramas produced and set in Nordic countries, helped along by the transnational brand of Nordic Noir as an exemplar of what Janet McCabe and Kim Akass (2007) call “quality television”. As such, Nordic dramatic

Works Cited Abbott, Megan E. The Street Was Mine. White Masculinity in Hardboiled Fiction and Film Noir. New York: Palgrave Macmillan, 2002. Print. Brook, Vincent. Driven to Darkness. Jewish Émigré Directors and the Rise of Film Noir . New Brunswick: Rutgers University Press, 2009. Print. Chopra-Gant, Mike. Hollywood Genres and Postwar America. Masculinity, Family and Nation in Popular Movies and Film Noir . London: I. B. Tauris Publishers, 2006. Print. Dickos, Andrew. Street with No Name. A History of Classic American Film Noir . Lexington: The University

Introduction The rise of complex drama coincided with a “golden age” of Scandinavian television. The opportunities of serial narration or “complex television” ( Mittell, 2010 ; Dunleavy, 2018 ) – including character-centred plots, multiperspectivity, and long-lasting storylines – have been picked up by Scandinavian public service broadcasters and independent companies to produce a remarkable set of television dramas. While there has been a growing interest in Scandinavian Nordic Noir aesthetics and narratives ( Jensen & Waade, 2013 ; Creeber, 2015 ), its

Noir”, such series are frequently described as a socially critical and politically conscious genre ( Forshaw, 2012 ). Environmental concerns tend to be combined with critical evaluations of the national self, reflecting the fact that nature has played a vital role in the construction of Nordic national self-conceptions. Television series addressing environmental issues, labelled here “eco-noir”, can be seen as a variant of a social orientation distinguishing small-screen dramas from the North. This article explores one such eco-noir high-end television drama

-50. Print. Emerson, Ralph Waldo. “Nature.” Ralph Waldo Emerson: Essays & Lectures . Ed. by Joel Porte. New York: Literary Classics of the United States, 1983. 48-50. Print. Gherasim, Gabriel C. “După chipul si asemănarea Americii: lumea jazz-ului în tezele lui Ken Burns.” Interferențe Euro-Atlantice. 20 de ani de studii europene la Universitatea Babes-Bolyai . Ed. by Liviu C. Tîrău, Stefan Melancu. Cluj-Napoca: EFES, 2013. 457-467. Print. Holt, Jason. “ Twin Peaks , Noir, and Open Interpretation.” The Philosophy of TV Noir. Ed. by Steven M. Sanders, Aeon J. Skoble