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Titlebook: Locating Nordic Noir; From Beck to The Bri Kim Toft Hansen,Anne Marit Waade Book 2017 The Editor(s) (if applicable) and The Author(s) 2017

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樓主: Agoraphobia
21#
發(fā)表于 2025-3-25 04:24:53 | 只看該作者
Location Studies: A Topography of Nordic Noirhich ways they are related to the spatial understanding of television drama. They present the method as an outcome of the spatial turn in media studies and also as a specific subdivision and combination of television production studies and textual readings of television drama. On this basis, the aut
22#
發(fā)表于 2025-3-25 08:19:41 | 只看該作者
Four Perspectives on the Nordic Regione understanding of Nordic Noir as a cultural phenomenon: (a) the recent Nordic wave in food, design and fashion as a market condition, (b) the history of Nordic melancholy in arts and philosophy, (c) the Nordic landscapes as commodities, and (d) the Nordic media welfare system and the public service
23#
發(fā)表于 2025-3-25 13:52:06 | 只看該作者
24#
發(fā)表于 2025-3-25 18:00:31 | 只看該作者
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發(fā)表于 2025-3-25 20:13:01 | 只看該作者
26#
發(fā)表于 2025-3-26 00:41:29 | 只看該作者
27#
發(fā)表于 2025-3-26 04:37:00 | 只看該作者
and Danish Commercial Public Service Drama large national public service player. Firstly, they introduce the complex broadcasting institution TV 2, the spatial history of their drama production and the embedded attention towards regionalism and often provinciality. Secondly, they address the close connection between a very local crime seria
28#
發(fā)表于 2025-3-26 10:35:20 | 只看該作者
, Danish Transnationalism and the Local Colour of Europe crime dramas. Besides the important German influence on the international distribution of especially ., the BBC played a decisive role in broadcasting this and other subtitled series. The culmination of the transnationalisation of Danish drama production appears with the pan-European series ., illu
29#
發(fā)表于 2025-3-26 14:05:22 | 只看該作者
30#
發(fā)表于 2025-3-26 18:01:20 | 只看該作者
and Original Noir from Iceland and Norwayvisual portrayals of landscapes in Norway and Iceland are also intertextually indebted to Nordic, mostly romanticist, landscape painting from the nineteenth century. If the assumption of something allegedly ‘Norwegian’ or ‘Icelandic’ may appear outdated in a transnational media environment, the refe
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