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Journal articles on the topic 'Crise du drame'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Plana, Muriel. "Le roman comme recours et modèle : genèse d’une réforme du drame au tournant des XVIIIe et XIXe siècles." Dossier — Théâtre/Roman : rencontres du livre et de la scène, no. 33 (May 6, 2010): 31–45. http://dx.doi.org/10.7202/041520ar.

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Au tournant du XVIIIe et du XIXe siècle, théoriciens et dramaturges constatent la sclérose de la forme dramatique classique : elle semble inadéquate à l’expression de la nouvelle sensibilité bourgeoise et romantique. Diderot, Rousseau, Sade, les Romantiques allemands et français vont chercher dans le roman, genre nouveau en plein développement, le modèle d’une réforme possible du drame. Ils en appellent donc à la « romanisation » du théâtre, au libre jeu des modes épiques et dramatiques. La théorie bakhtinienne de la « romanisation » n’attend donc pas la fin du XIXe siècle pour connaître ses p

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2

Sarr, Fatou. "Crise de la citoyenneté en Afrique et responsabilité des élites: la question de la migration clandestine." Social Science Information 47, no. 4 (2008): 715–29. http://dx.doi.org/10.1177/0539018408096457.

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Au Sénégal, en 2006 des milliers de jeunes ont du quitter leur pays à la recherche de moyens de survie pour eux et leurs familles. L'analyse de l'implication citoyenne des mères dans la gestion de ce drame nous incite à réfléchir sur la nécessité de la prise en compte des femmes dans la définition et la gestion des politiques publiques: ce qui renvoie à la question de la démocratie inclusive, objet de cette réflexion.

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3

Thérésine, Amélie. "Sony Labou Tansi, précurseur de nouvelles écritures dramatiques ?" Études littéraires africaines, no. 41 (October 31, 2016): 25–37. http://dx.doi.org/10.7202/1037788ar.

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Cet article porte sur la modernité du théâtre de Sony Labou Tansi. Abordées sous l’angle d’une déconstruction, à la manière des dramaturgies modernes et contemporaines occidentales qui mettent en crise le drame, ses pièces résistent. Interrogeant la pertinence des catégories héritées de la conception aristotélicienne en usage dans les études théâtrales, l’esthétique de Sony Labou Tansi se manifeste dans une dramaturgie du mouvement, où la contradiction et l’interrogation cohabitent, indépendamment des principes d’ordre et de mesure. Par ce geste créateur singulier qui rompt avec une littératur

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4

Malkin, Shira. "Tableau et coup de théâtre." Études littéraires 35, no. 2-3 (2005): 107–22. http://dx.doi.org/10.7202/010528ar.

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Résumé Alors qu’elle écrit de front pour le roman et pour le théâtre dans le but de créer des fictions attendrissantes, George Sand emploie dans son roman Adriani (1853) les techniques du tableau et du coup de théâtre qu’elle emprunte au drame bourgeois inventé par Diderot et perfectionné par Sedaine. Marquée pour un temps par l’esthétique du pathétique que prisait le public du Second Empire, Sand en problématise les enjeux idéologiques, surtout en ce qui concerne le personnage féminin en état de crise. Alliant plusieurs modes de représentations dans l’espace même du roman, Sand en reproduit l

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5

Saim, Mirela. "Raconter la Russie des Juifs en 1839." Thème 15, no. 1 (2008): 113–29. http://dx.doi.org/10.7202/017643ar.

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RésuméL’article examine les mémoires des voyages en Russie de Max Lilienthal, un texte d’exception sur la Russie juive : le jeune voyageur juif venu d’Allemagne décrit l’image d’une communauté religieuse et ethnique à l’aune de la crise dramatique des Lumières, drame qui se déploie sur le territoire de la Russie tsariste. À la fois engagé et curieux de tout ce qui a trait à la situation des Juifs, Max Lilienthal construit dans ses lettres de Russie un espace idéologique particulier, à la fois cloisonné et divers, cartographiant la condition juive dans l’empire de Nicolasieret imposant une comp

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6

Kaczmarek, Tomasz. "Armand Salacrou : de la « dédramatisation » à la « redramatisation » du drame." Anales de Filología Francesa 28, no. 1 (2020): 433–48. http://dx.doi.org/10.6018/analesff.422991.

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El autor del artículo analiza dos piezas de Armand Salacrou, L'Inconnue d'Arras y Sens interdit, que, a diferencia del "drama absoluto", forman parte del nuevo paradigma de "drama-de-la-vida". Al renunciar a la forma canónica del drama, el escritor francés deconstruye la fábula clásica para llamar la atención del público no a la acción en el sentido tradicional de la palabra, sino al estudio del alma humana. Además, desafía el carácter individual, definido por una psicología, a favor de un personaje enajenado con múltiples facetas. Por lo tanto, estamos presenciando un drama que ya no es agoni

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7

Cassidy, Gary, and Simone Knox. "Phil Davis." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (2018): 315–32. http://dx.doi.org/10.1177/1749602018785833.

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Phil Davis has had a distinguished career, receiving widespread acclaim for his ‘invisible’ acting. This article illuminates Davis’ approach to acting via a transcribed interview conducted at the ‘Acting on Television’ symposium at the University of Reading in 2016. This material is framed by a contextualising introduction that proposes that John Flaus’ concept of lamprotes is useful for understanding Davis’ acting. The interview is structured by four case studies exploring Davis’ work across a range of medium/genre contexts: feature film Vera Drake, docudrama The Curse of Steptoe, drama seria

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8

Christie, Nils. "Crime Control as Drama." Journal of Law and Society 13, no. 1 (1986): 1. http://dx.doi.org/10.2307/1409916.

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9

Shelton, James. "The TV crime drama." New Review of Film and Television Studies 14, no. 3 (2016): 405–7. http://dx.doi.org/10.1080/17400309.2016.1187905.

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10

Ranincheski, Sônia Maria. "Introdução de “Elites e trabalho no Brasil e no Uruguai: as origens do debate atual”." Revista Debates 14, no. 2 (2020): 67–90. http://dx.doi.org/10.22456/1982-5269.106267.

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Este livro é uma reflexão sociológica sobre o posicionamento das elites parlamentares brasileiras e uruguaias em relação as leis trabalhistas no começo do século XX. É uma contribuição para o debate atual e polêmico sobre como conduzir uma sociedade no qual há cada vez menos exigências de trabalho humano e as crises econômicas empurram a soluções drámaticas como fim de leis trabalhistas. O tema das leis de trabalho atualmente retorna como uma tragicomédia de busca de soluções para a crise nas quais presenciamos o inusitado da defesa dos trabalhadores pelo emprego a qualquer preço a qualquer si

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11

Wimshurst, Kerry. "Meaning-making and crime drama: the case of criminology students." Media International Australia 171, no. 1 (2018): 95–109. http://dx.doi.org/10.1177/1329878x18798703.

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Criminology as a discipline maintains an ambivalent attitude towards mass media. Following from Clifford and White’s call for a more nuanced approach to media criminology, the first section of the article contextualises the present study by outlining the uneasy relationship between mainstream criminology and crime drama. The second section explores themes that arose during research that invited criminal justice students to create an outline for a television crime series that they would enjoy watching themselves. The experience of creating and talking about their crime fictions prompted the par

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12

Oliveira, Marcela. "Alegoria do drama moderno." Viso: Cadernos de estética aplicada 7, no. 13 (2013): 81–92. http://dx.doi.org/10.22409/1981-4062/v13i/152.

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Este artigo apresentará o conceito de alegoria – formulado pelo filósofo Walter Benjamin em Origem do drama trágico alemão – como uma categoria crítica que permite analisar não apenas o drama barroco do século XVII, mas também certa produção dramática do final do século XIX até meados do XX. O objetivo é interpretar, através dessa concepção de alegoria, alguns exemplos extraídos das obras de dramaturgos como Ibsen, Tchekhov e Beckett, nas quais se detecta as marcas de um questionamento do estilo dramático tradicional, o que Peter Szondi chamou de “crise do drama”, em Teoria do drama moderno.

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13

Awais, Muhammad, Sohail Abbas, Farahat Ali, and Ali Ashraf. "Media Exposure and Fear About Crime: An Application of Mediated Fear Model." Journal of Social Sciences Research, no. 67 (July 30, 2020): 720–26. http://dx.doi.org/10.32861/jssr.67.720.726.

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Social behavior can be troubled by the constant concern of crime. Research on the relationship between traditional media crime exposure, social media crime videos, and fear about the crime is scarce. The present study is designed to investigate whether social media exposure, TV news crime viewing, crime drama exposure is directly or indirectly associated to fear about crime. The theoretical framework of the study is based on the mediated fear model and cultivation theory. A sample of 371 university students was selected through a convenience sampling technique. SPSS 25 was used to analyze the

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14

Warner, Kate. "History, Memory and Television Crime Drama ( )." SPIEL 2017, no. 1 (2017): 39–54. http://dx.doi.org/10.3726/spiel.2017.01.03.

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15

Simpson, Janice. "Book Review: The TV Crime Drama." Media International Australia 154, no. 1 (2015): 162. http://dx.doi.org/10.1177/1329878x1515400142.

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16

Turnbull, Sue. "Crime as entertainment: The case of the TV crime drama." Continuum 24, no. 6 (2010): 819–27. http://dx.doi.org/10.1080/10304312.2010.510591.

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17

Frermann, Lea, Shay B. Cohen, and Mirella Lapata. "Whodunnit? Crime Drama as a Case for Natural Language Understanding." Transactions of the Association for Computational Linguistics 6 (December 2018): 1–15. http://dx.doi.org/10.1162/tacl_a_00001.

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In this paper we argue that crime drama exemplified in television programs such as CSI: Crime Scene Investigation is an ideal testbed for approximating real-world natural language understanding and the complex inferences associated with it. We propose to treat crime drama as a new inference task, capitalizing on the fact that each episode poses the same basic question (i.e., who committed the crime) and naturally provides the answer when the perpetrator is revealed. We develop a new dataset based on CSI episodes, formalize perpetrator identification as a sequence labeling problem, and develop

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18

Turnbull, Sue, and Felicity Collins. "Old Dogs, New Tricks: Beyond Simpson Le Mesurier, Crime-Comedy and the Telemovie Series." Media International Australia 100, no. 1 (2001): 33–48. http://dx.doi.org/10.1177/1329878x0110000106.

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Roger Simpson and Roger Le Mesurier are veterans of commercial television drama production (from Division 4 to Stingers). In the post-Skase/Bond era of deficit funding, their innovative telemovie series (Halifax f.p., Dogwoman) and crime-comedy series (Good Guys Bad Guys) have tested the boundaries of Australian television's staple drama format, the crime series. Taking actors (Rebecca Gibney, Marcus Graham, Magda Szubanski) as hooks for the networks, the joint venture company Beyond Simpson Le Mesurier has brought elements of sketch comedy and a high-concept film aesthetic to the crime series

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19

Nelson, Robin. "Book Review: Contemporary British Television Crime Drama." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (2018): 370–73. http://dx.doi.org/10.1177/1749602018781366.

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20

Wayne, Michael L. "Post-network audiences and cable crime drama." Northern Lights: Film & Media Studies Yearbook 14, no. 1 (2016): 141–57. http://dx.doi.org/10.1386/nl.14.1.141_1.

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21

Julian Smith, Paul. "CRIME SCENES: POLICE DRAMA ON SPANISH TELEVISION." Journal of Spanish Cultural Studies 8, no. 1 (2007): 55–69. http://dx.doi.org/10.1080/14636200601148819.

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22

Lane, Philip J. "The Existential Condition of Television Crime Drama." Journal of Popular Culture 34, no. 4 (2001): 137–51. http://dx.doi.org/10.1111/j.0022-3840.2001.3404_137.x.

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23

Adamski, Tomasz. "Jordskott. Las zaginionych, czyli przekraczanie granic Nordic noir." Panoptikum, no. 20 (December 17, 2018): 110–18. http://dx.doi.org/10.26881/pan.2018.20.07.

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The TV crime drama is one of the most popular genres for European audiences and arguably also the most culturally sensitive and nuanced. The author in his article analyzes one of the Swedish examples of crime drama called Jordskott. Author interprets it through the prism of the Nordic noir aesthetics while characterizing this concept. In the course of analyzes, however, he notices that the Jordskott series escapes the genre framework and is located somewhere at the intersection of such film aesthetics as: Nordic noir, ecological thriller, horror or fairy tale.

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24

Chow, Pei-Sze, Anne Marit Waade, and Robert A. Saunders. "Geopolitical Television Drama Within and Beyond the Nordic Region." Nordicom Review 41, s1 (2020): 11–27. http://dx.doi.org/10.2478/nor-2020-0013.

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AbstractThis article presents a framework for thinking about the intersections between geopolitics and Northern European television drama by examining the contemporary Nordic Noir genre of crime drama. Nordic Noir features not only the double plot that combines sociopolitical critique with crime drama, but also a third “gaze” that engages aesthetics and territorial features that further individual series’ geopolitical critique. Nordic Noir has become especially attuned to contemporary geopolitical issues specific to its setting (climate change, East-West rivalries, etc.), through which viewers

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25

Ellis, Katie. "Disability in television crime drama: Transgression and access." Journal of Popular Television 3, no. 2 (2015): 243–59. http://dx.doi.org/10.1386/jptv.3.2.243_1.

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26

Angeline, Mia. "Crime As Entertainment or Entertainment as A Crime?" Humaniora 2, no. 2 (2011): 1025. http://dx.doi.org/10.21512/humaniora.v2i2.3151.

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Article presents one part of pop culture is crime portrayed as entertainment in television shows. Television has the means of information and entertainment, resulting in the shift of crime shows, initially crime was portrayed in the news but due to the high popularity, it becomes part of the entertainment as well. In terms of information, the most famous of crime drama show is Crime Scene Investigation (CSI), and this show gave effect known as the CSI effect, which is people have more appreciation to scientific evidences and DNA testing in trials. On the other hand, with so many shows involvin

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27

Hill, Annette. "Push–Pull Dynamics." Television & New Media 17, no. 8 (2016): 754–68. http://dx.doi.org/10.1177/1527476416658131.

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This article explores push–pull dynamics in television drama production and reception. Push–pull dynamics are understood as complicated power relations in the transactions between television industries and audiences. The research is underpinned by qualitative data, drawing on more than 170 participants in interviews, focus groups, and participant observations, with producers and audiences from Northern Europe and North and South America. A case study of The Bridge (FX, 2013–2014) crime drama and its adaptations is used to think through the idea of push–pull dynamics. A key question concerns ho

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28

Williams, Rebecca. "‘The past isn't dead … it's deadly’: Horror, History and Locale inWhitechapel." Journal of British Cinema and Television 11, no. 1 (2014): 68–85. http://dx.doi.org/10.3366/jbctv.2014.0192.

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This article analyses the ITV crime drama Whitechapel (2009 –), contributing to academic understandings of the horror and Gothic genres on television. It does so by examining the importance of place in TV horror, expanding on prior work that has concentrated on the rural by focusing on television horror within the urban London district of Whitechapel which has a specific history and legacy. Given the recent boom in history television programming and the ‘potential and variety of the popular history drama in engaging with the past’ (de Groot 2009: 207), it also contributes to work on televising

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29

Steinway, Elizabeth. "Narrating Pregnancy and Childbirth: Infanticide and the Dramatization of Reproductive Knowledge." Humanities 7, no. 4 (2018): 120. http://dx.doi.org/10.3390/h7040120.

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In early modern England, infanticide was a crime overwhelmingly associated with women. Both popular texts and legal records depict women accused of infanticide as mothers acting against nature. These figures, however, do not often appear in the period’s drama. Instead, early modern drama includes fictionalized mothers who kill their children beyond infancy and into adulthood. By eschewing portrayals of neonaticide and the trials associated with it, the drama highlights a dependency upon female characters’ verbal narratives of the reproductive body that reinforces pregnancy’s unstable epistemol

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30

Romer, Daniel, and Patrick Jamieson. "Violence in Popular U.S. Prime Time TV Dramas and the Cultivation of Fear: A Time Series Analysis." Media and Communication 2, no. 2 (2014): 31–41. http://dx.doi.org/10.17645/mac.v2i2.8.

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Gerbner and Gross’s cultivation theory predicts that prolonged exposure to TV violence creates fear of crime, symptomatic of a mean world syndrome. We tested the theory’s prediction in a time series model with annual changes in violence portrayal on popular US TV shows from 1972 to 2010 as a predictor of changes in public perceptions of local crime rates and fear of crime. We found that contrary to the prediction that TV violence would affect perceptions of crime rates, TV violence directly predicted fear of crime holding constant national crime rates and perceptions of crime rates. National c

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31

Santos, Eduardo Almeida. "A IRONIA COMO UMA DAS SAÍDAS DO TEATRO PÓS-DRAMÁTICO." Cena, no. 23 (November 23, 2017): 121. http://dx.doi.org/10.22456/2236-3254.73693.

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O presente trabalho aborda as possibilidades do texto teatral que se constrói a partir do drama moderno até a obra considerada pós-dramática, quando o teatro contemporâneo se vê diante da crise e da possibilidade do fim do drama como elemento norteador das criações de encenação ou de dramaturgia. Logo, os diversos elementos que convergiam na construção deste norte se encontraram em suspensão. Ao refletir sobre uma série de obras cênicas contemporâneas, uma das saídas apontadas e analisadas por este estudo será o uso e o conceito da “Ironia” principalmente no texto Insulto ao público, de Peter

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32

Oliveira, Mara Regina de. "Violência e crise de legitimidade: um diálogo com a peça Coriolano." Revista da Faculdade de Direito, Universidade de São Paulo 110 (May 20, 2016): 545. http://dx.doi.org/10.11606/issn.2318-8235.v110i0p545-588.

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Este artigo parte da hipótese de que é possível desenvolver um diálogo interdisciplinar entre a obra teatral de Shakespeare e as teorias jurídicas críticas contemporâneas que estudam o poder a partir do ponto de vista interativo. Poder não é uma substância, mas uma interação que se desintegra e se constitui na relação de mando/obediência. Ele não pode ser confundido com a violência física, mas apenas com a violência simbólica. O trágico drama de Coriolano, de William Shakespeare, é o objeto de análise deste estudo.

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33

Toassa, Gisele. "Certa unidade no sincrético: considerações sobre educação, reeducação e formação de professores na "Psicologia Pedagógica" de L. S. Vygotsky." Estudos de Psicologia (Natal) 18, no. 3 (2013): 497–505. http://dx.doi.org/10.1590/s1413-294x2013000300010.

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Este trabalho, que cotejou uma das edições brasileiras da "Psicologia Pedagógica" com o original em russo, visa a ressaltar algumas contribuições originais de tal livro, publicado por L. S. Vygotsky em 1926. Discutem-se as preocupações do autor com uma escolarização ativa e livre, abordada em uma conjuntura de crise e reestruturação da psicologia. O livro apresenta características de uma "síncrese" de ideias, posições e influências divergentes. Com análise de ideias básicas e objetivos presentes no material, este artigo busca extrair a "unidade no sincrético" pela qual o autor, em linguagem me

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34

Ridgman, Jeremy. "Duty of Care: Crime Drama and the Medical Encounter." Critical Studies in Television: The International Journal of Television Studies 7, no. 1 (2012): 1–12. http://dx.doi.org/10.7227/cst.7.1.3.

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35

Wilson, David. "Values in the Crime Drama ‘24’: close to reality?" Criminal Justice Matters 52, no. 1 (2003): 22–23. http://dx.doi.org/10.1080/09627250308553474.

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Sanches, João Alberto Lima. "A CONFERÊNCIA COMO ESTRATÉGIA DRAMATÚRGICA DE DESVIO." Cena, no. 32 (December 11, 2020): 300–311. http://dx.doi.org/10.22456/2236-3254.103212.

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Este artigo discute estratégias dramatúrgicas que estruturam peças-conferência, ou conferências-espetáculo. O trabalho comenta exemplos dessas formas recorrentes na cena contemporânea e, como perspectiva teórica, baseia-se nas noções de crise do drama e desvio, formuladas respectivamente por Peter Szondi e por Jean-Pierre Sarrazac. O estudo também dialoga com o trabalho de outros artistas e teóricos como Fernando Kinas, Patrice Pavis e Cleise Mendes. Palavras-chavesPeça-conferência. Dramaturgia contemporânea. Desvio.

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E Souza, Ronaldes De Melo. "O drama trágico do desdobramento da personalidade em Crime e Castigo." Dramaturgias, no. 10 (May 28, 2019): 360–81. http://dx.doi.org/10.26512/dramaturgias.v0i10.24891.

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   O presente estudo interpreta o romance de Dostoiévski, Crime e Castigo, em intercâmbio dialógico com o drama trágico. Defendemos a tese de que a conduta transgressora de Raskólnikov não se fundamenta no ambiente ideológico de seu tempo, mas tem como móbil recôndito a sua personalidade demoníaca, insuflada por desenfreada vontade de potência. O satanismo que o subjuga não irrompe como determinação exterior, mas emerge do profundo desejo de mando e comando, que remonta ao antigo mitologema grego do homem e ao moderno filosofema da subjetividade. Em consonância

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38

Costa, Iná Camargo. "A crise do drama em Eles não usam Black Tie: uma questão de classe." Discurso, no. 20 (April 9, 1993): 147–56. http://dx.doi.org/10.11606/issn.2318-8863.discurso.1993.37961.

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Gianfrancesco Guarnieri estreou no teatro brasileiro em 1958 com a peça Eles não usem black-tie. Assim como já ocorrera com a obra de dramaturgos europeus mais de meio século antes, nesta peça mais uma vez encena-se a crise formal do drama, na medida em que a forma se desencontra do conteúdo. Não sendo indiferentes estes pontos de vista, observam-se no próprio texto os embates entre forma dramática e conteúdo épico, ora prevalecendo uma, ora outra.

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39

Furusawa, Guilherme Pinheiro. "A Educação Ambiental como forma de prevenção de Crime Ambiental envolvendo uma serpente Boa constrictor no município de Eng. Paulo de Frontin - RJ: Estudo de caso." Revista Eletrônica TECCEN 11, no. 2 (2018): 73–76. http://dx.doi.org/10.21727/teccen.v11i2.1183.

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A presente nota refere-se a um estudo de caso, envolvendo crime ambiental com uma espécie nativa de serpente Boa constrictor, ocorrido no município de Engenheiro Paulo de Frontin - RJ e a Educação Ambiental como forma de prevenção nesse tipo de drama.

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40

Statham, Simon. "‘A guy in my position is a government target … You got to be extra, extra careful’: Participation and strategies in crime talk in The Sopranos." Language and Literature: International Journal of Stylistics 24, no. 4 (2015): 322–37. http://dx.doi.org/10.1177/0963947015605442.

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This article reflects the trend within the stylistics of drama towards the analysis of film and television discourse by examining dialogue from HBO’s popular organised crime drama The Sopranos. A major theme of the series focuses on the consistent attempts of the authorities to bring Soprano gang members to justice for their crimes. To gather evidence, investigators rely on electronic surveillance and surreptitious listening devices worn by collaborating witnesses who agree to testify for the government against their former associates. FBI agents are additional participants in recorded convers

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41

Zharikova, Vera Vasilyevna. "Crime Teenpic as a Subgenre of American Cinema." Journal of Flm Arts and Film Studies 6, no. 3 (2014): 104–13. http://dx.doi.org/10.17816/vgik63104-113.

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The article reviews film genres and the factors determining genre formation as exemplified by the subgenre of youth criminal drama. Like most genres, it appeared in the USA as an offshoot of the gangster film of the 1930s, on the one hand, and as a result of the emergence of youth subculture. The image of an adolescent criminal is still popular in both mass culture and auteur cinema.

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Tyree, J. M. "The Wire: The Complete Fourth Season." Film Quarterly 61, no. 3 (2008): 32–38. http://dx.doi.org/10.1525/fq.2008.61.3.32.

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Abstract An essay on the fourth season DVD boxed set of the politically uncompromising HBO series, The Wire (created by Ed Burns and David Simon), an urban crime drama of unprecedented complexity that is unusual in featuring a cast largely composed of African Americans.

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Mendes, Cleise Furtado. "A ação do lírico na dramaturgia contemporânea." Revista aSPAs 5, no. 2 (2015): 5. http://dx.doi.org/10.11606/issn.2238-3999.v5i2p5-15.

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<p>O artigo reavalia pressupostos de algumas teorias baseadas na “crise do drama” que se orientam, exclusivamente, pela presença de recursos épicos na dramaturgia moderna e contemporânea, propondo o exame das estratégias líricas recorrentes em novas formas de escrita dramatúrgica. Com exemplos da dramaturgia brasileira, o estudo sugere uma abordagem crítico-teórica que reconheça o papel estruturante dos procedimentos líricos para a reconfiguração da forma dramática e para a pluralidade discursiva que marca a produção atual.</p>

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Wearing, Sadie. "Troubled Men: Ageing, Dementia and Masculinity in Contemporary British Crime Drama." Journal of British Cinema and Television 14, no. 2 (2017): 125–42. http://dx.doi.org/10.3366/jbctv.2017.0359.

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Focusing on three recent British film and television crime dramas, Mr Holmes (2015), The Fear (C4, 2012) and the English language version of Wallander (BBC, 2008–16), this article argues that older men in these texts are a site through which contemporary social and cultural anxieties about ageing and dementia are played out in highly gendered ways that link to social and philosophical reflections on power, autonomy and selfhood. The dramas, while very different in affective orientation and tone, nonetheless all produce reflections on the meanings of memory loss within figurations of masculinit

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Sand, Stine Agnete, and Thomas Vordal. "‘Northern, not Nordic noir’: A Norwegian case study on crime series and strategies for transnational television." Journal of Scandinavian Cinema 11, no. 2 (2021): 157–76. http://dx.doi.org/10.1386/jsca_00045_1.

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This article discusses transnational television and what strategies public service broadcaster NRK Drama has pursued to make the Norwegian crime series Monster: Brutally Far North travel. Monster was the first Norwegian-language television series bought by a major American cable network, Starz. Using the concept of production values, we argue that NRK has made a series that is able to ride the Nordic noir wave of success while also offering a new northern Norwegian version of the western. These two factors made Monster a good fit for the American market. The series is a result of strategic cha

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Askanius, Tina. "Engaging with The Bridge: Cultural citizenship, cross-border identities and audiences as ‘regionauts’." European Journal of Cultural Studies 22, no. 3 (2017): 271–90. http://dx.doi.org/10.1177/1367549417722093.

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This article explores civic engagement with the Danish/Swedish crime series The Bridge (Danmarks Radio/Sveriges Television 2011–) based on qualitative interviews with 113 audience members, and drawing on the notion of cultural citizenship. The perspective of cultural citizenship, as understood and operationalized mainly by Hermes, is married with critical perspectives on the crime drama genre and its audiences, along with cultural analysis of the construction of and engagement with the cross-border region in which the drama is set. The analysis shows that civic engagement with the crime series

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Watson, Ariel. "Cries of Fire: Psychotherapy in Contemporary British and Irish Drama." Modern Drama 51, no. 2 (2008): 188–210. http://dx.doi.org/10.3138/md.51.2.188.

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Raney, Arthur A. "Moral Judgment as a Predictor of Enjoyment of Crime Drama." Media Psychology 4, no. 4 (2002): 305–22. http://dx.doi.org/10.1207/s1532785xmep0404_01.

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Shuster, Martin. "Television antiheroines: women behaving badly in crime and prison drama." Journal of Gender Studies 28, no. 1 (2018): 119–20. http://dx.doi.org/10.1080/09589236.2018.1546232.

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Fell, Elena. "Television Antiheroines: Women Behaving Badly in Crime and Prison Drama." European Journal of Communication 32, no. 5 (2017): 492–94. http://dx.doi.org/10.1177/0267323117730715.

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