The development of transnationality in Danish Noir – from Unit One to The Team

Datos Bibliográficos

ID23239014
AutoresGunhild Agger (0009-0003-6198-6168, Aalborg University, autor de correspondencia)
Año2016
Volumen14
Número1
Páginas83-101
Fecha de publicación2016-06-01
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaNorthern Lights Film and Media Studies Yearbook (JOURNAL)
Identificadores de la revistaISSN: 1601-829X • E-ISSN: 2040-0586
EditorialIntellect (PUBLISHER • GB)
DOI10.1386/nl.14.1.83_1
OpenAlexW2576557872
IdiomaEN
Citas recibidas6

The idea of transnationality is often used as a key concept to explain current developments in production and distribution of TV drama. However, this term can be understood in different ways with different implications. The main purpose of this article is to map prevalent uses of the term and to investigate the development of transnationality in Danish Noir during the period 2000–2015. The concepts of internationalism and globalization as well as Nordic Noir are used to frame the theoretical discussion of transnationality. Inspired by recent developments in film theory, the argument is that implications of transnationality should be discussed at different levels – production, overall theme and story, aesthetics, reception and distribution. The impact of transnationality at these levels are examined and illustrated in the analyses. Four TV series, all of them authored by Peter Thorsboe and Mai Brostrøm, are selected to trace the transnational development in Danish Noir. Unit One is seen as the international breakthrough. The Eagle and The Protectors illustrate an increasing transnational development at all levels, and The Team represents its provisional culmination. The conclusion seeks to answer whether there is a limit to transnationality.

Argument (complex analysis) · Commoditization · Danish · Economics · International trade · Internationalization · Sociology · Transnationality · Cultural Industries and Urban Development · Gender Studies · Philosophy