kvarter Volume 07 • 2013 akademiskacademic quarter
Nordic Noir Production Values The Killing and The Bridge
Anne Marit Waade PhD, Associate Professor at Media Studies, Aarhus University, teaches media aesthetics, production and marketing. Her research fo- cuses on mediated places, for example, location in television produc- tion, film tourism, place branding, landscape/cartographic aesthetics in travel series and travel journalism, and paradise as a concept in commercials. She has published several articles and books within the field, including ‘Armchair tourism: the travel series as a hybrid gen- re’ (co-authored, 2014), Wallanderland (2013), Northern Light ‘Crime and Media’ (special issue co-editor, 2011) and Skandi- navisk krimi (co-editor, 2010). She is the leader of the research pro- ject ‘What makes Danish Television travel?’(2014-2016).
Pia Majbritt Jensen PhD, Associate Professor in Media Studies at Aarhus University. Her research revolves around the role of media in globalisation pro- cesses, and research topics include international television formats and genres, local media systemic conditions, and production and industry analyses. Current projects include a comparative study of different national audiences’ response to the same television for- mats, and she has recently begun work into how Danish television series travel the world.
Abstract In this article, the authors argue that Nordic noir constitutes a set of production values utilised and conceptualised to make Danish tel- evision series attractive in the international market. The idea of pr o- duction values is embedded in a media industrial context where market principles of target groups, sales, funding and marketing/ branding are as important as aesthetic principles. The Killing and The Bridge are used to illustrate how features such as setting,
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Bron/Broen Bron/Broen I ( and Volume 07 drama production, in drama production, of economic, practical of economic, practical genre, Danish television Danish genre, The Killing The The Bridge I Nordic Noir Production Values Noir Production Nordic production values is embed production television Nordic noir balancing act Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne , DR1, 2007) and 2007) , DR1, utilised and conceptualised to make Danishto utilised and conceptualised . Nordic noir, television drama, production value, television drama, production noir, Nordic as a prominent example, and the subsequent popularity as a prominent Forbrydelsen I ( The Bridge , production values production stylisation, and marketing that draws on genre cinema (Nestingen, stylisation, and marketing that draws on genre the idea of 2008, p. 53). Consequently, principles of target market ded in a media industrial context where importantas are marketing/branding funding and sales, groups, important as aesthetic principles – and maybe at times even more specific the relating by conclude we respect, this In 2013). (Waade, in values present noir production Nordic to changing conditions in Danish light and language serve strategic as well as aesthetic purposes inlight and language serve strategic value’ is a practical The term ‘production process. the production term the However, definition. theoretical exact an without concept to the most commonly refers quality and aesthetic and hand, one the on interests, market and Nestingen’s (2008) no Andrew Although on the other. interests, film Scandinavian to related originally is concept’ ‘medium of tion onmaking, we also believe it can be used to describe what is going ‘medium concept’ In this regard, in Danish television production. predominant region’s values integrate aspects of the production film, of conceptualisation the with it merging while cinema, auteur Introduction crime stories as an internationalFollowing the rise of Scandinavian with Stieg Larsson’s bestseller and blockbuster industry Trilogy um of what some have termed the In fame internationally. relative crime series have also risen to a as a concept, constitutes a noir, that Nordic this article, we argue set of use international market. We television series attractive in the Killing I climate, setting, as such features how illustrate to 2011) SVT1/DR1, climate,pur aesthetic as well as strategic serve language and light authors conclude by relating The process. poses in the production series two the in present values production noir Nordic specific the in production, in Danish television drama to changing conditions of DR Drama Division. particular the internationalisation Keywords Killing quarter
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television Volume 07 (2012) are titles of re (2012) are (ITV, 1997-) when using (ITV, Nordic Noir Production Values Noir Production Nordic phenomena, settings, light, cli Nordic Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne Midsomer Murders Death in a Cold Climate characteristics, including setting, climate, light and (2013) and stylistic Nordic noir is inevitably linked to the international popularity noir is inevitably linked to the international Nordic these contexts. The concept of Nordic noir adds and foregrounds adds and foregrounds noir these contexts. The concept of Nordic some language. Kerstin Bergman (2011) claims that Swedish crime fic follows in the footsteps tendency that tion includes a neo-romantic Agatha Christie’s authorship and of the British crime tradition of television series such as rural areas as setting. This neo-romantic tendency fits the melan melancholic art and Scandi Nordic we know from cholic antihero ple, crime and thriller, tragic plots, melancholic and desperate anti tragic plots, melancholic and desperate ple, crime and thriller, subdued heavily placement, as unusual camera well as heroes is that difference use of shadows. The lighting and a pronounced uses recognisably noir Nordic mate and seasonal conditions as well as language(s), characters and the social and culture provincial equality, gender as such themes 2011). state (Waade, democratic welfare of Scandinavian crime fiction as well as Danish series as an international trademark. The narrative, genre-specific in role important an playing already are features melancholic and concept typically used to describe American crime dramas and psy American crime concept typically used to describe character that were the 1950s and thrillers in the 1940s chological including melancholic features, ised by certain narrative and visual low-key lighting, striking use of light and and desperate antiheroes, and often tragic endings (Fay unusual camera placement shadow, 1970s, a new wave of noir- 2012). In the and Nieland, 2010; Luly, the reflecting themes modern which noir’, in ‘neo the emerged, films prob example, technological for – play at society were surrounding lems and their social ramifications, identity crisis, memory issues and subjectivity (Abrams, 2007; Haastrup, 1999). Nordic noir fol and thematic concepts, for exam lows the same narrative, stylistic particular the internationalisation of public broadcaster DR’s Dra DR’s broadcaster public of internationalisation the particular within. ma Division from Nordic melancholy ‘Nordic noir’ and Nordic Noir describingForshaw Andrew critic British by the written books cent illus titles The fiction. crime Scandinavian of popularity current the essential in its are and the environment trate how locations, nature French a noir, film historic the to noir’ refers ‘Nordic also popularity. quarter
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Volume 07 Nordic Noir Production Values Noir Production Nordic Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne century, including the works of Sibelius, century, th and 20 th is a good example of this miserable antihero and of is a good example of this miserable antihero , Sara has a Swedish partner and – together with her son from a , Sara has a Swedish partner and – together with her son from The Killing ‘Nordic melancholy’ is another trademark linked to internation melancholy’ ‘Nordic Nordic melancholy. At the beginning of the first season of season first the of beginning the At melancholy. Nordic in ing – is on track to move to Sweden to be with relationship previous Sarah is still in Copenhagen, and her him. But 20 episodes later, has been too busy solv is disintegrating because she relationship ing the crime, neglecting her private life and family in the process. is expressed in the main characters’ inner psychological and per is expressed sonal conditions and conflicts, but also in terms of external condi atmosphere. general and climate nature, landscape, as such tions with his or her time dealing most often has a hard The protagonist own life, experiences emotional conflicts with others, and is often many examples of melancholy in are lonely and pensive. There both Danish television drama series specifically and Scandinavian most main characters seem to where generally, crime series more and personal life, experienc with close relationships be struggling ing failed marriages, alcoholism, and often disappoint family and of others. Sarah Lund busy saving the lives friends while they are – when looked at from outside the Nordic region – insofar as theyas insofar – region Nordic outside the from at looked when – emphasising features and distinct style remarkable rather a offer something typically Nordic. and film literature, art, Nordic acknowledged and well-known ally music in the 19 noir also which the Nordic from and Bergman, Munch, Strindberg benefits. In that sense, both Scandinavian crime series and Nordic as tradition of aesthetic references, noir draw upon a rich Nordic intradition crime/thriller American and British French, the as well both film, television 2010). and This literature melancholy (Agger, navian crime fiction, as well as the use of the characteristic Nordic points As Bergman climate and light as visual style. settings, rural landscapes and set of emphasising rural out, this new tendency as visual seasonal, climate and light conditions tings, the typical to the elements in the series is related stylistic and picturesque p. 2011, (Bergman, industry in the region media tourism growing and language settings, climate, light the Nordic 42). Not only are se logical elements in the dramaturgically and practical as used exoticism significant a entail to seem also elements same these ries; quarter
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The Killing I This is to say that This is to say that . Volume 07 The Killing I, II was called ‘the best se best ‘the called was Nordic Noir Production Values Noir Production Nordic The Killing I Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne , explains that the overall vision of the seriesof the the overall vision that explains , : November, November, November…. November, : November, is undoubtedly the most successful Danish television is undoubtedly The Killing I The plot of the first of a total of three seasons, Ingolf Gabold, former Head of DR’s Drama Division and pro tions of her family, teachers and friends as they try to come to terms tions of her family, with what has happened; and we follow Sarah Lund’s and her fel Nanna. killed who out find to work tenacious detectives’ police low During the series the viewer gets to know a lot of friends and fam turns out that to the victim, and it everyone ily members related to the may have a motive to kill Nanna. This ambiguity in relation good or bad characters in which we do not know whether they are April, May, June, July, August, September, October, November, No November, October, August, September, June, July, April, May, December’ November, (Gabold, 2013) vember, significant a played seasons its and conditions climate country’s the value. in the series’ production and outspoken role about a young high school girl, Nanna Birk Larsen, who has disap noir in the name of the missing girl, the Nordic Already peared. name for the typi value is marked. ‘Birk’ is the Danish production Danish is a common and ‘Larsen’ wood species birch, cal Nordic family name. Police detective Sarah Lund is asked to solve the case. and we follow the reac It turns out that Nanna has been murdered, viewers and especially critics (Jensen and Waade 2013), paving 2013), paving Waade critics (Jensen and viewers and especially it crime drama’ proving ‘the way for a wave of subtitled European drama on foreign-language was possible to successfully broadcast series has also the Additionally, 2011a). British television (Frost, ( version American an into re-made been may remakes and Indian, Russian and Turkish AMC, 2011-2013) be underway (Dohrmann, 2013). ducer of was inspired by Danish writer Henrik Nordbrandt’s poem saying March, February, ‘January, months: 15 has year Danish the that The Killing I The Killing I all other Nordic in Besides being sold for broadcast export so far. its by available made lists to according has, series the countries, countries and ter Enterprises, been exported to 97 distributor ZDF including Brazil, Chile, Mexico,Africa, but ritories in all continents Australia and New Zealand. Japan, France, Turkey, Britain, Great example, for Britain, Great In hit with and became a relative 2011) on TV’ (Jarossi, ries currently quarter
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The Killing I Volume 07 Nordic Noir Production Values Noir Production Nordic Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne is even manifest in the US remake of the series, series, of the is even manifest in the US remake Nordic-ness The series’ radical televisual style with consistent dark colours The series takes place in Copenhagen. The City Hall, Nanna’s typical climate conditions and landscapes, make up the ‘Nordic’ in ‘Nordic’ up the make landscapes, and typical climate conditions values of the series. Sarah Lund’s Faero noir production the Nordic essentially Nordic. indicates something ese jumper furthermore This which stylistically is fairly close to the original both when it comes American equiva to location (Seattle) and characters. Sara Lund’s even to linden trees), lent, Sara Linden (the surname referring which has also be wears a jumper similar to Sara Lund’s jumper, police, Nanna’s mother and the murderer, who has taken Nanna’s police, Nanna’s mother and the murderer, him with a gun. The crime scene is father as a hostage, threatening a genre-specific place, and in this case it is also part of the climax conditions and and rainy weather nature scene, marked by Nordic low-key lighting as the general visual style. and dim lighting, the significant lurking camera placements and the many rainy autumn scenes emphasise the series’ significant cinematic noir style. Iconic places such as the Danish parliament, the city of Copenhagen and its significant neo-classical police headquarters, as well as the names of the characters, the regions’ does not know whether it is a crime scene or just an innocent mead does not know whether it is a crime The ow. place is significant in the opening scene andrepresents a landscape imagery in itself indi cinematic landscape in which the 2006). The setting is a narrative and visual style (Lefebvre, cates cold autumn landscape in a frosty, marked as a bleached Nordic follows the overall vision: It starts climate. The story’s dramaturgy in early November and ends Nanna’s three weeks killer later. is fi in the story’s climax, in which the action takes place nally revealed a typical Nor again within forest, a dark autumn evening in a birch of light, the as the only source torches dic natural setting. With between the crosscuts where viewer follows the hunt in the woods, is a thriller genre element, also used in film noir, and it helps to cre to helps it and noir, film in used also element, genre thriller a is 2011). and excitement of the series (Agger, ate the suspense the main locations of station are home and the police to live with his is disintegrating, and her son has Sarah’s own home follow Sarah on herAs a viewer you Sarah’s mother. grandmother, inside the City and Copenhagen and its surroundings way through Hall. In the first episode the police search for Nanna in a meadow. The viewer yellow and withered. It is late autumn, and the grass is quarter
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of series such as Volume 07 The Bridge crossing the iconic Ríoiconic the crossing Nordic Noir Production Values Noir Production Nordic , Sky Atlantic/Canal+, 2013), 2013), Atlantic/Canal+, , Sky , DR’s production philosophy only , DR’s production has proved quite a successful export,a successful quite proved has Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne in-house modus operandi , SVT1/DR1, 2011) is a co-production be co-production a is 2011) SVT1/DR1, , The Tunnel Bridge of the Americas the of Bridge Borgen Borgen I-III Broen Broen I / : explicit meta-style and concept : explicit meta-style and The Bridge I , and -series, based on and inspired by Maj Sjöwall and Per by Maj Sjöwall -series, based on and inspired Bron ( Beck ’s concept, plot and aesthetics, in which all elements from the ’s concept, plot and aesthetics, in which all elements from The Killing Since the series is a co-production with Swedish public broad with Since the series is a co-production The Danish language is not really a part of the series’ Nordic noir a part of the series’ Nordic is not really The Danish language The Killing I-III influences Filmlance pro the hasindirectly production. previously duced the bestseller crime novels about the Swedish detective Mar Wahlöö’s knows the tradition of Scandina as such the company tin Beck, and vian crime fiction very well. This is also a manifest part of Bridge region’s popular crime series are reflected. In other words, the which uses the Channel Tunnel between the two countries as its as between the two countries the Channel Tunnel which uses American ( is pivotal point. The other remake cable channel FX and itsAmerican doFox, for the 2013), produced detectives channel MundoFox, in which police Spanish-language from the US and Mexico are teaming up to find the killer and the is the question bridge in with US El Paso Grande and connecting Mexican Ciudad Juarez (Jones 2012; Jensen 2013). companies, by independent production and undertaken caster SVT, as opposed to DR’s usual tween DR and Swedish public broadcaster SVT, produced by inde produced SVT, tween DR and Swedish public broadcaster companies Filmlance International (Sweden) pendent production co-funded by other (public) broad and Nimbus Film (Denmark) but As was the case and German ZDF. casters such as Norwegian NRK with Australia, Brazil and Poland. as being sold to markets as different a French- One is series have also been produced. of the remakes Two ( British co-production The Bridge I The Bridge I come an important part of the series’ trademark in Britain (Kings part of the series’ trademark come an important 2012). ley, is a onset rather the Danish language the from style and concept drama produc part of a Danish television natural and conventional example of the series in for look at the reception tion. But when we Britain, the Danish language has become a significant partGreat of subtitles has become a quality in the series, insofar as the need for 2013). and Waade, Jensen 2011a; dicator in itself (Frost, quarter
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The Killing’s Volume 07 Nordic Noir Production Values Noir Production Nordic Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne Nordic settings and the region’s climate, light and language con settings and the region’s Nordic The Danish detective Martin Rohde refers to all the miserable, miserable, the to all Rohde refers detective Martin The Danish esting is that viewers not only get to know ‘whodonnit’, they also behind motifs and sad circumstances get to know the revenge the serial killer has become a criminal. conceptual elements of also emphasised as stylistic and ditions are this series. For instance, iconic places in Copenhagen and Malmö in Torso’ ‘Turning used in the opening sequence (for example, are Malmö, and the Police Headquarters, the City Hall and the State eral serial killer plot of many crime series, following the serial struc serial the following series, crime many of plot killer serial eral ture of the genre. Martin Rohde’s son, who plays a significantrole end This season. first the of episode last the in killed is story, the in stories, but demonstrates an ing is unusual in action-driven crime other noir element, namely the tragic ending. The use of glass and a for example, letting the camera follow an action through mirror, is also window, a characteristic noir element (Haastrup, 1999). In to the Scandinavian addition, the story includes critical approaches of Scandinavian another well-known trademark society, welfare and shortcomings of corruption crime series, in which police, press What is inter revealed. the social, health and political systems are such as Henning Mankell’s Kurt Wallander such and as Sjöwall Henning and Mankell’s Wahl Kurt Wallander Rohde is strug and Beck, As the kin of Wallander öö’s Martin Beck. The pronuncia relations. gling with both private and professional ‘rode’, is similar to another word tion of his name Rohde in Danish Swedish counterpart, the fe which means ‘make a mess’. Rohde’s to both the name with references male detective Saga Norén, has a old Nordic saga tradition and to Lars Norén, a significant Swedish aboth is behaviour ‘autistic’ Her playwright. and poet melancholic to other famous insensi refers humoristic element in the series and tradition, including tive female characters within the is the gen The plot Salander. Sarah Lund and Stieg Larsson’s Lisbet series is a meta-series demonstrating popular elements of Nordic elements of Nordic demonstrating popular is a meta-series series crime series’ significant style and societal critique. One example is the first body found on the bridge between Sweden and Denmark in the first episode, which alludes to both the transnational co- of region of the new bi-national and the construction production dif national and cultural the reflects time same the at but Oresund, between the countries. ferences in the Scandinavian crime tradition, emotionalised, male antiheroes quarter
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The Bridge I Volume 07 Nordic Noir Production Values Noir Production Nordic – are actually a consequence of the – are Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne Danish drama production: one vision, double story, crossover and crossover one vision, double story, drama production: but they are emphasised and transformed into a reflected public broadcaster DR to win international prizes in order to attract prizes in order DR to win international public broadcaster domestically DR Drama, of success The funding. international ap ‘dogmas’, been attributed to the so-called has internationally, The dogmas originally consisted the mid-1990s onwards. plied from of today 15. most However, industry people and academics agree to that four dogmas summarise the peculiarities of DR’s approach television producer’sAgger 2012; (Nielsen 2012a, 2012b; choice, respectively large variation of distinct vowel sounds of Danish. In variation large the series’ not only a natural part of languages are the Nordic en-scene value. style and production and significant part of the series DR Drama’s perspective: Concluding subtle internationalisation values pre noir production that the Nordic Concluding, we argue and as essentially Nordic perceived sented above – and arguably even at times essentially ambition of Denmark’s international orientation and increasingly news room, with glass facades, wooden interiors and furniture with glass facades, wooden interiors and furniture news room, such as Danish architects made of natural materials by well-known part. plays a prominent also and Jacobsen. The language Wegner and the characters have dif The series mixes Swedish and Danish, dif Saga’s is which of example an other, each understanding ficulty ficulty in pronouncing Rohde’s name, which makes it sound more particu are (mess). These linguistic nuances or ‘rod’ like ‘rød’ (red) language as audiences, who will recognise larly funny for Nordic as well jokes within the region, an established mode of humour and as the acknowledged difficulties every non-Danehas experienced the uvular ‘r’,when attempting to pronounce soft ‘d’ and the the Hospital in Copenhagen), as well as the highway and the bridge po neo-classical Nordic The cities. and countries two the between also is setting, which as used in Copenhagen is headquarters lice making it an iconicother Danish crime series, of the case for a lot itself. The lighting emphases of Scandinavian crime series setting winter the reflecting series, the of nuances pastel grey, bleached, the image of the bridge the repeated landscapes outside (for example, design tradi and architecture the Nordic as as well sunset) in lilac in for example Martin Rohde’s home and the Swedish tion present quarter
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16:9 . Lexington: . Liverpool: . drama, in combi Volume 07 television Nordic Noir Production Values Noir Production Nordic series, and ‘producer’sand series, choice’ The Philosophy of Neo-Noir Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne television 9(1), pp. 111-125. Gothenburg: Nordicom. pp. 91-107. Nordicom. Gothenburg: . Northern Lights, . ema. In: M.T. Conard, ed. Conard, ema. In: M.T. sons Millennium-trilogi. In: G. Agger and A.M. Waade, eds. A.M. Waade, Agger and sons Millennium-trilogi. In: G. skandinaviske krimi eds. Distinctions. In: U. Beck, N. Sznaider and R. Winter, America? The Cultural Consequences of Globalization pp. 15-29. Liverpool University Press. The University Press of Kentucky. pp. 7-20. of Kentucky. The University Press ing at: < http://www.16-9. Available [online] November 2012. dk/2012-11/side08_feature1.htm>. What is interesting about the dogmas in our argument, however, however, dogmas in our argument, the about interesting What is Agger, G., 2010. Krimithriller, melodrama og bestseller – Stieg Lars Krimithriller, G., 2010. Agger, Rivalry of from Beck, U. 2003. Rooted Cosmopolitanism: Emerging winning international prizes (Redvall, 2011). winning international prizes (Redvall, References Cin and Subjectivity in Neo-Noir Abrams, J. J., 2007. Space, Time, – Investigating Emotion, Gender and Genre G., 2011. Agger, kunst: Forbrydelsen I-III. G., 2012. Thrillerens Agger, that allowed for a more flexible organisation. In the same vein, the between must be a crossover dogma – stating that there cross-over team and the independent the DR in-house production film production industry in order to achieve aesthetic and artistic and movie- international led to a more innovation – has arguably Nielsen, 2012b). and Redvall, 2011; like visual style (Bondebjerg much international acclaim and been a con This style has garnered (Red 2002 since Awards Emmy five winning DR in factor tributing Ita Prix prizes such as international with other together vall, 2011), part of a conscious – and, as welia (Nielsen, 2012b), and as such, by abroad to attract funding from now know – successful strategy Redvall 2010, 2011). These dogmas have allowed DR to create a new allowed DR to create These dogmas have Redvall 2010, 2011). of Danish conception and interpretation of DR Drama itself culture in the production nation with a change (Redvall, 2011). practic international production by partly inspired is that they are by the so-called ‘show-runners’ es. Thus, ‘one vision’ was inspired of especially American practices American – and British – production found inspiration in quarter
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Volume 07 Nordic Noir Production Values Noir Production Nordic . New York: Routledge. York: . New Scandinavian Crime Fiction , [online] 10 May. Available at: at: Available , [online] 10 May. , [online] 4 March. Available at: Available , [online] 4 March. Herts: Old Castle Books. , [online] 23 January. Available Available , [online] 23 January. Journal of Popular Television Popular of Journal Bestseller and Blockbuster Culture Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne Film Noir , [online] 6 March. Available at: , Crime Time Preview http://www.theguardian.com/tv-and-radio/2011/mar/04/ Neo-Romantic Tendencies in the Swedish Police Procedural. P. P. Procedural. in the Swedish Police Neo-Romantic Tendencies A.K. Nestingen, eds. Arvas and 34-45. pp. Press. University of Wales diff: sons. crimetimepreview.com/2011/03/why-killing-is-best-thing- on-television.html> 2013]. 25 March [Accessed is a Hit for BBC. < the-killing-bbc-danish-crime-thriller>. [online] 14 November 2013. Available at: academic kvarter akademisk . ------, Kos , 200 Ph.D. thesis, . USA: FX Pro Den skandinaviske Volume 07 . London: Routledge. pp.. London: Routledge. Nordic Noir Production Values Noir Production Nordic . London: Shortbooks. . Gothenburg: Nordicom. . Gothenburg: Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne , 10(48) [online] November 2012. Avail , 10(48) [online] November 2012. [TV series] Developed by Meredith Stiehm,[TV series] Developed by Meredith 16:9 Landscape and Film Crime and Fantasy in Scandinavia – Fiction, Film Fiction, – Scandinavia in Fantasy and Crime Copenhagen: Museum Tusculanum. . , 10(48) [online] November 2012. Available at: < Available , 10(48) [online] November 2012. Manuskriptskrivning som kreativ proces. De kreative De kreative proces. Manuskriptskrivning som kreativ Dogmer for tv-drama - om brugen af one vision,Dogmer for tv-drama - om brugen Wallanderland, filmturisme og skandinavisk tv-krimi skandinavisk og filmturisme Wallanderland, How to be Danish , [online] 5 March. Available at: academic kvarter akademisk - - 201 TV series] By TV series] By . Volume 07 [TV series] By Hans Nordic Noir Production Values Noir Production Nordic ), 2011-2013. ), 2011-2013. Anne Marit Waade and Pia Majbritt Jensen Jensen Pia Majbritt and Marit Waade Anne Bron [The Crime]), 2007-2012. [ [The Crime]), 2007-2012. [TV series] Developed by Veena Sud. Di Sud. [TV series] Developed by Veena ; SE: Broen Forbrydelsen ( (DK: , 2011-present. , 2013-present. [TV series] Developed by Hans Rosenfeldt. Hans by Developed series] [TV 2013-present. , Directed Directed by Hettie MacDonald, et al. UK/France: Kudos Film Atlantic, Canal +. Sky and Television. Rosenfeldt. Directed by Henrik Georgsson, et al. Sweden/Den International/Nimbus Film mark: Filmlance Nyhom, et al. Denmark: Kristoffer by Directed Svejstrup. Søren DR. AMC. Ed Bianchi, et al. Canada: Fox Television. by rected The Bridge The Killing The Killing Tunnel The quarter academic kvarter akademisk