Kim Toft Hansen is Associate Professor of Scandinavian Media Studies at Aalborg University, Denmark. He is the co-author of Locating Nordic Noir: From Beck to The Bridge (2017) and has written extensively on Nordic written and audiovisual crime fiction.Steven Peacock is an independent scholar. He is the author of Swedish Crime Fiction: Novel, Film, Television (2013), Hollywood and Intimacy: Style, Moments, Magnificence (2011), and Colour (2010). Sue Turnbull is Senior Professor of Communication and Media at the University of Wollongong, Australia, and Discipline Leader for the Creative Industries. Her publications include The TV Crime Drama (2014) and more recent research is concerned with the transnational career of television crime series.

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

“European Crime Drama and Beyond aims to both chart and analyse the phenomenon in a European context. It is a wide-ranging study, edited by established scholars in the field, and with contributors that are similarly experienced researchers of television crime drama, with nuanced positions on the issues they discuss. … Overall, this is a timely and informative account that can be read for its individual analyses and for its overall thesis.” (Stephen Lacey, Critical Studies in Television, Vol. 17 (1), 2022)

Kim Toft Hansen is Associate Professor of Scandinavian Media Studies at Aalborg University, Denmark. He is the co-author of Locating Nordic Noir: From Beck to The Bridge (2017) and has written extensively on Nordic written and audiovisual crime fiction.Steven Peacock is an independent scholar. He is the author of Swedish Crime Fiction: Novel, Film, Television (2013), Hollywood and Intimacy: Style, Moments, Magnificence (2011), and Colour (2010). Sue Turnbull is Senior Professor of Communication and Media at the University of Wollongong, Australia, and Discipline Leader for the Creative Industries. Her publications include The TV Crime Drama (2014) and more recent research is concerned with the transnational career of television crime series.

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

“European Crime Drama and Beyond aims to both chart and analyse the phenomenon in a European context. It is a wide-ranging study, edited by established scholars in the field, and with contributors that are similarly experienced researchers of television crime drama, with nuanced positions on the issues they discuss. … Overall, this is a timely and informative account that can be read for its individual analyses and for its overall thesis.” (Stephen Lacey, Critical Studies in Television, Vol. 17 (1), 2022)

Kim Toft Hansen is Associate Professor of Scandinavian Media Studies at Aalborg University, Denmark. He is the co-author of Locating Nordic Noir: From Beck to The Bridge (2017) and has written extensively on Nordic written and audiovisual crime fiction.Steven Peacock is an independent scholar. He is the author of Swedish Crime Fiction: Novel, Film, Television (2013), Hollywood and Intimacy: Style, Moments, Magnificence (2011), and Colour (2010). Sue Turnbull is Senior Professor of Communication and Media at the University of Wollongong, Australia, and Discipline Leader for the Creative Industries. Her publications include The TV Crime Drama (2014) and more recent research is concerned with the transnational career of television crime series.

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

“European Crime Drama and Beyond aims to both chart and analyse the phenomenon in a European context. It is a wide-ranging study, edited by established scholars in the field, and with contributors that are similarly experienced researchers of television crime drama, with nuanced positions on the issues they discuss. … Overall, this is a timely and informative account that can be read for its individual analyses and for its overall thesis.” (Stephen Lacey, Critical Studies in Television, Vol. 17 (1), 2022)