Killing_us_softly_Investigating_in_the_aesthetics_philosophy_and_influence_of_Nordic_Noir_television

7 this article then intends to help counterbalance

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7 This article, then, intends to help counterbalance this bias. Firstly, it will outline many of the genre’s major characteristics in terms of television, adding to a growing but still relatively new interest in the subject and paying close attention to programming from both Denmark and Sweden. Secondly, it aims to show how it is gradually influencing TV drama made 4 There is only one chapter devoted to film and TV in Forshaw’s book, the same is also true of his 2013 publication on the same subject. While Peacock takes a more thematic approach to the drama, the attention is still primarily centred on literature. 5 Also see Gunhild Agger (2012b). 6 DR originally stood for ‘Danmarks Radio’ (which was the organization's name until 1996) and is now most commonly translated as the ‘Danish Broadcasting Corporation’. Redvall’s (2013b) focus on Danish television drama means that her monograph includes only two brief references to the Swedish made Wallander . 7 With the possible exception of Pia Majbritt Jensen and Anne Marit Waade (2013), who argue that Nordic Noir ’s settings, landscapes, light and language become promotional tools when marketing the productions internationally. 3
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elsewhere, highlighting specific examples from Britain and America and revealing its crucial role in creating a new form of contemporary miniseries. Narrative Connections The origins of Nordic Noir on television can be traced back to the mid-1990s. The success of Lars von Trier’s TV series The Kingdom (1994) and the Dogme 95 movement were important in terms of their international impact, boosting the confidence and aspirations of the Danish film and TV industry (see Patrick Kingsley 20012: 148-9). 8 Several of DR’s top executives and producers also flew to Los Angeles during this period, visiting the sets of dramas like N.Y.P.D. Blue (1993-2005) and L.A. Law (1996-94) which introduced them to concepts such as ‘the writers’ room’, ‘the showrunner’ and ‘multi-episodic series’ (see Lauren Collins, 2013). The lessons learned here about long-form drama were particularly crucial, demonstrating how a central enigma in a show like Murder One (1995-7) or 24 (2001 - ) could sustain an audience’s interest over a surprisingly large number of episodes. Twin Peaks (1990-1) was clearly instrumental in first establishing this narrative formula, one of the most successful early long-form serials that integrated aspects of the whodunit with soap opera. 9 Søren Sveistrup (the creator and head writer of The Killing ) openly admits to the serial’s influence, but was disappointed that it avoided ever properly solving its central murder mystery (see interview with Tim Chipping 2012). 10 In contrast, dramas like The Killing and 8 Dogme 95 was an avant-garde filmmaking movement started in 1995 by the Danish directors Lars von Trier and Thomas Vinterberg who wrote its manifesto.
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