European Television Crime Drama and Beyond

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 and Marion McCutcheon.- 15. Saga's Story: Emotional engagement in the production and reception of The Bridge, Annette Hill.