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Arbejdspapir : Introduction and participant projects : facts, fiction, and purpose

Dette materiale er lagret i henhold til aftale mellem DBC og udgiveren. www.dbc.dk e-mail: [email protected] Introduction and Participant Projects Facts, fiction, and purpose

Scandinavian crime fiction has been a success, in Scan­ dinavia as well as internationally. New genres of crime fiction have emerged in books and films, on televi­ sion and computers. Facts about crime are present­ ed in journalism. How can the relationship between facts and fiction be described? What role does the me­ diatiza­tion play? What do the places of crimes mean? In what ways is crime fiction a part of media culture? Such questions will be the focus of the project.

Crime Fiction and 30 % of the Danish population watched episode 14 of Unit One, Crime Journalism in broad­­­casted on DR 1 on April 8, 2001. The introduction went: “While a number of local police officers are on a routine task in Scandinavia an area with many immigrant families, they are contacted by a www.krimiforsk.aau.dk ter­rified young girl. In the girl’s flat, a tragedy awaits; along with a shocking con­fession. It looks like a domestic scene in con­ nection with a forced marriage – but is that the whole truth?” Working paper As of autumn 2000, Ekstra Bladet ran a number of reports on the no. 2 reality behind the fictions ofUnit One. Episode 14 was not unique © The Project in its reliance on reality, neither in reality nor in the genre of re­ porting, which is apparent from the following: “Honour killing.­ Aalborg 2008 An early morning, a woman walks steal­th­ily down a quiet resi­ dential street somewhere on Amager. On the run from her fam­ ISBN: ily, her background, and a demand that she abandons­ the per­ 978-87-91695-11-7 son she loves. Three weeks later, she dies out­side the rail­way station in Slagelse. Shot by her brother.” (Politiken, May 14, 2006). TV dramas are based on actual crimes. Facts about crime are pre­sented via the mechanisms of fiction in the newspaper re­ port, the magazine programme on TV, reality shows, and film documentary. TV series and TV magazine programmes are fol­ lowed by the pub­lication of books, such as, Niels Brinch and Jes Dorph-Petersen’s Op­klaret, 2000, and Eigil V. Knudsen’s books about Unit One, 2001-02. On the Internet, continuous com­muni­ ­cation and analysis are taking place, and interactive crime fic­ tion is being developed in computer games. The purpose of this project is to chart and analyse the new forms of interaction of crime fiction and crime journalism in a Scandinavian context, and assess their significance for the ex­ peri­ence economy in the global market. It is our presumption that the concepts of trans­gression and cultural citizenship may contribute to elucidate the par­ticular role of the mediatization. Despite the popularity and con­spicu­ ous­ expansion of the sub­ ject matter content, it has never before been examined in a con­ Design and layout certed, larger project. Kirsten Bach Larsen

• Introduction 1 The mediatization of crime Crime is a summarising concept of committed, punishable acts (Balvig 1997. For refer­ ences, please consult Bibliography, www.krimiforsk.aau.dk). Defined as an unwant­ ed transgression of moral norms, crime has always been surrounded by the attention and sanc­tions of society. However, the understanding of the concept has never been unambiguous. The history of crime and forensic sociol­ogy show that the perception of crimes depends on social, cultural, and mental con­nections. From the Ancient Times through the En­lightenment to the present time, the relationship between society, crime, and punish­­ment has been the subject of problematisation and discussion (e.g., Seneca in the 1st Century, Beccaria 1764, and Christie 2003). Since the modern, urban breakthrough, mediatization of crime has been a crucial factor in determining how crime is perceived within the public sphere. Thus it has enabled a dissemination of the dis­cussion from the few enlightened to the many citi­ zens. Crime is the central point of an extensive production of books, film, TV series, and games. This development, which created the concept of crime fiction and crime journalism, accelerated in the 20th Century. ‘Crime fiction’ we understand as fiction in book form, as film, or TV drama in which crime and the detective process govern the acts of the cha­r­acters and the plot. ‘Crime journalism’ we understand as journalis­tic communication of matters relating to crime in news­papers and electronic media of various genres. From the middle of the 19th Century, all the internationally known types of crime fiction­ and crime journalism became widespread in Scandinavia via translations, trans­ formations and, gradually, orig­inal contributions, which have helped turning what was previously a periphery into an important production centre. Fiction in particu­ lar enters significantly into the experience economy on an interna­tional level; cf. the Swedish heavyweights Henning Mankell and Liza Marklund. Numerous authors of crime fiction, female as well as male, have expanded the concept of the typology and function of crime fiction – e.g., Arne Dahl, Håkan Nesser, Jan Guillou, Inger Frimans­son, Karin Alvtegen, and Åsa Nilsson in Sweden; Gunnar Staalesen, Jo Nesbø, Karin Fos­ sum, Kim Smaage, and Anne Holt in Norway; and Susanne Staun, Gretelise Holm, Elsebeth Egholm, and Sara Blædel­ in Denmark. Swedish film and TV drama have had no problems matching the production. In Denmark, the TV crime series has en­ joyed the strongest position in an international context. Transgression and cultural citizenship Transgression in media-communicated crime raises and discusses a number of ques­ tions: 1 the violation of ethical norms (the dilemma between an unaccept­ able­­ degree of indi­ ­vi­dual liberation and, simi­larly, an unaccept­able degree of collective suppression, the question of the existen­ce and status of evil), 2 the social ties and trans­gression (dominating in American forensic sociology since the 1920s), 3 the psychological dimension (which involves interpretation models of the relation­ ship between the individual and the community, the observer’s mirror function), 4 the legal framework (the interplay between that which is allowed and not allowed, the sense of justice, the actual discourse on crime, cf. Agger 2005), 5 the aesthetic dimension (transgression in genre, style, hidden cam­era, the crime novel, etc.).

• Introduction 2 Mediacommunicated crime is also about cultural citizenship. The popular culture of­­­ fers us a selection of imagined communities (An­­derson 1996) and, in particular, shared fantasy reservoirs (Elsaes­ser 2000). When we use the media, as readers, viewers, or players, we join audience communities that reach beyond the national level (e.g., feminist crime fiction) yet, at the same time, produce local pockets within the nation – such as, fan or viewer groups (Hermes 2005). Thus the popular culture produces a cultural citizenship, which cannot be reduced to a sub-culture or a counter-culture, but which weaves in and out of the existing global, national, and local cultures. In the media, matters related to crime are discussed, such as, the forms of order, crime, and punishment to be desired in a society – and thus the societies that are de­ sirable. The individual subject is given an opportunity to practise desirable compet­ ences and psy­cho­logical mechanisms, and ‘work’ with them like a good citizen. The consequences of the popular culture for the citizens’ self-develop­ment may be ex­ pressed as an image of a D.I.Y. citizen (Hartley 1999). With regard to crime fiction, this applies to the strategies of order and passion that the viewers and readers are able to negotiate in re­la­tion to their own lives. Thus, the cultural citizen is a human being that continuously reflects on itself. Cultural citizenship is a process of ‘bonding’ and reflection on this very bonding. It is implied in the media’s offers to readers and viewers, and also provides the audi­ ence with the opportunity to enter into an ironic distance – without evading the pos­ sibility to par­ticipate in the cultural consumer ‘democracy’ of the media. Using different approaches and methods, these assumptions will be examined in the project. Methods • Registration of material: types of crime fiction and documentaries. • Source studies of the crime journalism of the period. • A media and genre history-orientated approach. • A comparative approach – at numerous levels. We will carry out comparative ex­am­ i­na­tions between facts and fiction, different me­dia (book, film, TV, the Internet, pc), and between national and international/transnational versions (primar­i­ly using ma­ terial obtained from Scandinavia). • Selection of material about chosen cases. • Text analysis on the basis of genre-based and aesthetic categories. • Production analysis. • Reception analysis.

• Introduction 3 Gunhild Agger Memory, identity, and past

The purpose of the sub-project is to develop a typology for registering­ the historical crime novel and crime documentaries in Denmark from 1985 to 2006, and to supply an account of how these genres have developed during that period. Theories on me­m­ o­ry, oblivion, nos­tal­gia, and history (i.a., Boym 2001, Johannisson 2001, Riceour 1983-85, Todorov 2000) will provide a basis for a comparative, intermediate analysis of select­ ed novels, TV-dramas, films, and documentaries in order to qualify the hypotheses about how the historical dimen­sions function in fiction and facts, respectively. My hypothesis is that the past when represented in the historical crime novel and crime documentary has three decisive functions. It serves as 1) a mirror and a moral yardstick for that time and a notion of transgression of that time; 2) a forum for how national­ self-knowledge­ at that time finds a popular form of expression that may con­ ­tribute to cultural citizenship; 3) a catalyst for the aware­ness of time, which is essen­ tial both to genres of suspense and the historical do­c­umentary’s oscillation between oblivion, memory, and appeal to the present time. 1 Despite the growth of genre studies in recent years, the forms of the historical crime novel that have developed during the period have been overlooked, such as the historical crime documentary. Yet these genres in particular display the very changes that are constantly taking place with the notion of transgression, the con­ tracts of fiction and facts. 2 The period of occupation is a popular frame of reference both in the contexts of fiction and documentary, e.g., in Stellan Olsson’s Jane Horney (1985), Anders Bo­ del­sen/Palle Kjærulff-Schmidt’s Mørk­lægning (1992), Ole Christian Madsen’s TV- crime pastiche Ed­der­koppen (2000), Søren Fauli’s Min morfars morder (2004), Grete­ lise Holm’s Under fuld bedøvelse (2005). The point of view may be distanced or near. In all cases, the period of occupation accurate­ly expresses the notion of national identity by asking ultimate questions about belonging, selflessness, and self-knowl­ edge that also include the present time. 3 In the crime novel and the crime documentary the past often hides for­gotten or repressed moments that turn out to be essential. Not only in terms of the di­stri­ bution of knowledge, but also memory, oblivion and progressive memory play a crucial role.

Introduction • Participants projects 4 Karen Klitgaard Povlsen Crime fiction and gender - cultural therapy?

In the postscript to The Name of the Rose, Umberto Eco wrote: “I do not think that people like crime novels because they contain murder, or because they express the final (…) order’s triumph over chaos. But because the crime novel in its purest form is a story about a presumption.” (1982). The focus of this sub-project is to investigate whether such presumptions may be verified in a reception analysis of crime on TV – fiction and faction – in this case, TV2’s crime-themed evening with the fiction series Anna Pihl followed by the faction series Station 2. The hypothesis is that the motivating force behind the audi­ence’s desire to watch or read is negotiations rather than pre­ sump­tions. Also, that these negotiations to a great extent are based on gen­der roles as displayed on TV, and involve the viewer’s subjective gen­der. The theoretical focal point is that the gender is central in popular media because the gender faces nego­ tiation in a late modern culture, where many subjects reflect on the gender position­ they as­sume (take on), the gender position the wish to as­­sume (to ‘do’), and the gen­ der positions that are culturally desir­able (Søndergaard 1996, Butler 1990, 1997). This hypothesis is developed in relation to many years’ work with gender theory and in relation to theories on cultural and aesthetic citizenship as expressed by, for instance, Hermes (2005) and van Zoonen (2005). It is precisely in the transgression of the culturally acceptable (crime) that an opening for negotiation appears which may confirm or challenge the subject’s genderness and its cultural valorisation. Are we dealing with a form of cultural therapy in these negotiations? In the 1970s, a new departure takes place with Anglo-American fem­inist crime fiction. This has left its mark on both police and detective­ series and on the gender achievements in the factual series, which may be male dominated though rarely un­ reflective. How this is mani­fested in Denmark (and Scandinavia) will be the context of the re­ception analysis.

Introduction • Participants projects 5 Ulrik Lehrmann The sensualism of brutality crime journalism as experience journalism

The project aims to map the character of and the development within­ textual pre­ sentations of crime journalism with a focus on the crime journalism of Ekstra Bladet from the middle of the 1960s to the present. The purpose hereof is to identify the crime universe presented by the paper, as well as the journalistic forms, in which this com­ mu­ni­cation takes place in order to elucidate the construction­ of the jour­nalistic nar­ rative about crime in the press and its role within the media picture. Ekstra Bladet has been selected as the main object of investigation­ since this paper in a decisive manner from the middle of the 60s re­presents a radical new departure within the Danish press. With its journalism, which has hardly been examined, Ekstra Bladet be­comes normative for a brash, critical, and investigate reporting – also with­ in matters related to crime. Most recently, Ekstra Bladet has made its mark by way of an independent crime supplement. Generally, the crime journalism of Ekstra Bladet can be seen as a sub­stantial contribution to a continuous media narrative about crime that assumes a series-like flow across the individual cases and, with it, a publicly com­ ­muni­cated space concerning crime, in which the audience may find their bearings as regards experiences and values. The thesis of the project is that crime journalism, both in terms of the density of the description as well as the use of photos, to a greater extent actually becomes appealing to the senses, and that the jour­na­l­ism herein actively responds to the description and narrative forms of fiction. In the border area between documentation and fic­tion, an increasingly radicalised transgression of tabooed aspects of the reader’s world of per­ ception and experience is in progress at the same time. Using this understanding of crime journalism, this project may perform in dialogue with the project’s other sub- projects about crime fiction and factual communication on crime (the field of crimi­ nology’s relation to ‘reality’ aesthetics). The examination will be organised as a mixture of quantitative and qualitative text analysis. The quantitative examination will define the extent of the matter related to crime and the relationship between spectacular crime (murder, violence, rape) and routine police mat­ter with­in the three delimited periods (November 1966, 1986, 2006). The qualitative examination will analyse the journalistic forms of re­­presentation and the relationship between the communication of facts and value of experience in se­ lected cases from the years in question.

Introduction • Participants projects 6 Peter Kirkegaard Crime plot and aesthetic transgression

For a long time, narratology has presented crime fiction as education­ ­ally exemplary in terms of plot, the elementary play between fabula­ and suyzhet, while also bracket­­ ing the genre as one-tracked and hence ultimately aesthetically uninteresting. In recent years, the modern crime novel, especially the Scandinavian crime novel, has questioned this position. Arne Dahl (alias Jan Ar­nald) is an illustrative example hereof. Dahl effortlessly mixes cun­ning plotting, which carefully considers the reader’s expecta­tions of order in the dialectics of the detection, with current politi­cal criti­cism and satire, and with penetration into sensitive histori­cal matters and mysterious pat­ terns. This he does using a varied lan­guage that in its intertextual and meta-poetical playfulness chal­lenges the self-reflection of the reading desire. The project has a dual focus. Classics within crime narratology, such as, Tzvetan Todorov and Dennis Porter, have been in need of an up­date for a long time. The project’s first focus is a clarification of Peter Brooks’ suggestive concept of “plotting”, which analyti­cally speak­ing has not been particularly operationalised yet. Plotting em­phasises the temporality of reading, its unbearable quest for the goal, but also its ‘other’, the delight of the reflective hesitation of deferment – a thing that Dahl’s soph­ isticated language games clear­ly strives towards. His fourth novel in the police series, Europa Blues (2001), is the main analytical example of the project. Dahl’s sophisticated plotting productively exceeds the fixed/fixing borders between the mainstream of the crime fiction tradition and the avant-garde through a hy­bridisa­­ tion of fixed categories. An aesthetic­ transgression that questions the current borders and separate spheres. The analysis of Europa Blues will focus on the literariness of the modern crime novel, its stylistic answer to the fixed clichés of the genre. An analytical sidelong glance at Jo Nesbø’s Norwegian crime novels, which also often reflect on both global and historical sensitive mat­ters, will help clarifying the peculiarity of the Scandinavian crime fiction tradition amidst the homogenisation of the globalisation.

Introduction • Participants projects 7 Anne Marit Waade Ystad as crime scene and destination Production analysis of Wallander crime series and the use of location

In its predominant form, the crime series contains a particular con­tract of realism: the fiction of crime is tied to factual places, and the TV-visual representations are based on actual locations. Within the Scandinavian tradition of crime fiction, brutal mass mur­ders, in­ces­tuous acts, and violent xenophobia are tied to local communities and small towns, thus reflecting the tension between local tradition and global moderni­ ty, between good and evil in the nature of man, and between disintegration and main­ tenance of moral and social order. Henning Mankell expresses this contrast as “The Swedish unrest” in the introduction to Indan frosten. The crime series’ ‘realism doubling’ of places/crime scenes opens the way for numerous games of sig­nifica­ tion: the viewer’s recognition and memory, crime fiction used as a contribution to public debate, and the crime series used in connection­ with the marketing of a tourist destination (a “DaVinci ef­­fect”, that is, the influence that a given work of fiction has on a par­ticular local tourist industry). In collaboration with Scandinavian television companies and the local tourist trade, the Swedish film production company Yellow Bird (with Henning Mankell as part of the management) has launch­ed a new series about Kurt Wallander, based on Man­ kell’s crime fiction hero (2004-06, see www-ystad.se, “Hollystad”). The series is pro­ duced with both cinema and TV in mind. Yellow Bird is currently­ negotiating with, amongst others, the BBC about the produc­tion of a new series for an international market, still with Ystad as location (http://www.yellowbird.se). The study comprises a production analysis of the Swedish crime series­ as well as the projected British series, and its purpose is to in­vestigate: values, considerations and presentation of Ystad as lo­ca­tion and also point out economical and aesthetic aspects when choosing a location. The method used in the empirical part of the study en­ compasses interviews with producers, observation of fu­ture pro­duc­tion, and also ana­lysis of the crime series’ place-specific aesthetics in the Swedish and British series, respectively. It is my thesis that the crime series’ use of location rests on ambiguity: on the one hand, fam­­il­iarisation and recognisable realism; on the other hand, an ex­ oti­fi­cation (postcard aesthetics) and demonisation. Paradoxically, the crime scenes are transformed into marketable destinations. The study contains new perspectives within Scandi­navian media and tourism research.

Introduction • Participants projects 8 Kjetil Sandvik Being Ingrid Dahl Interactive crime fiction with the recipient in the role of the investigator

This sub-project examines how crime fiction as a genre is remediated in computer games by making the essential characteristics – the un­covering of a course of events (the crime), the investigation of an actual place (the crime scene), and meetings with and investiga­tion of different characters (witnesses, suspects) – interactive. One of the distinctive features of crime fiction is that the detective process of the crime is of greater significance than the crime itself. As readers/viewers, we are en­ gaged in the investigative work con­ducted by the detectives from the homicide de­ part­ment, the flying squad, the department of forensic medicine, and the thrill of crime fiction is insolubly connected to the manner in which this work is conducted, the challenges and obstacles that may arise, the pressure exerted by time on the de­ tective process, etc. This involves the in­vestigation of crime scenes, the examination of witnesses and sus­pects, which contribute towards creating an insight into the crime and who has potentially committed it. This plot structure, which we can associate with the process of in­vestigation and problem solving, we recognise from the computer game and, particularly, the action- adventure genre. So when the com­­puter game remediates crime fiction, we are deal­ ing with a medium­­ that already possess a number of clear genre similarities with the crime novel, crime film and crime series, merely with the crucial dif­fer­ence that here we are no longer readers or viewers, but active co-players in the actual investigate work as leaders of, or partici­pants in, an investigation team. The sub-project focuses on similarities as well as pronounced dif­ferences between interactive and ‘traditional’ crime fiction. Also, it looks into the new kind of synergy and convergence that takes place, and the significant experience economic point relat­ ed to the fact that we, by way of the interactive crime fiction, are given the possibility to participate (as is the case with the interactive part of the crime series C.S.I.) and to experience plot and setting ‘from the inside’. This takes place through three actual cases, focussing on 1) the re­mediation of the actual investigative work either as enter­tain­ment or in an educational perspective in Mistænk (Deadline Games 2000) and Drabsag/Melved (LearningLab Denmark 2004); 2) immersion into the psychology of the crime or the criminal in Blackout (Dead­­line Games 1997) and Bagsædestrisser (Danmarks Radio 2002); and 3) the interplay between existing crime fiction and their digital inter­active remediations in Lisa Märklund’s Dollar – the Game (PAN Vision Studio 2006).

Introduction • Participants projects 9 References

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Introduction • References 12 Povlsen, Karen: “Dødskys. Kvindelige detektiver hos Marcia Muller og Sara Paretsky”, in Rasmussen, Réné & Lykke, Anders: Den sidste gode genre. Krimiens aktualitet. Århus: Klim, 1995. Povlsen, Karen: ”Krimi på tværs”, in Sørensen og Zerlang (red.): Kulturens steder, Århus: Klim, 2006. Priestman, Martin, ed.: The Cambridge Companion to Crime Fiction. Cambridge: Cam­bridge University Press, 2003. Rasmussen, Réné & Lykke, Anders: Den sidste gode genre. Krimiens aktualitet. Århus: Klim,1995. Reddy, Maureen T.: Sisters in Crime. Feminism and the Crime Novel. New York 1988. Ricoeur, Paul: Temps et Récit I-III. Paris: Éditions du Seuil, 1983-85. Riley, Roger: “Movie Induced Tourism”, in: Annals of Tourism Research, Vol. 25, No. 4, Elsevier Ltd, 1998. Ruggiero, Vincenzo: Crime in Litterature. London:Verso, 2003. Sandvik, Kjetil og Waade, Anne Marit (red.): Rollespil - i æstetisk, pædagogisk og kulturel sammenhæng. Aarhus: Aarhus Universitetsforlag, 2006. Scaggs, John: Crime Fiction. London: Routledge, 2005. Schierbeck, Ole: Danske mordgåder. Kbh.: Sesam, 1997. Schlesinger, Philip & Tumber, H.: Reporting Crime. The Media Politics of Criminal Justice. Oxford: Clarendon Press, 1994. Sheller, Mimi & Urry, John (eds): Tourism Mobilities, Routledge 2004. Simonsen, Karen Margrethe et al: Lov og Litteratur. Århus: Århus Universitets­ forlag, 2007 Skovmark, Henrik & Christensen, Dennis: “Danmark rundt – the American way”, in MedieKultur nr. 35. Århus: SMID, 2003. Symons, Julian: Bloody Murder. London: Faber and Faber, 1972. Stam, Robert: Literature Through Film. Oxford: Blackwell, 2005. Steemers, Jeanette: Selling Television. London: BFI, 2004. Stevenson, Nick: Cultural Citizenship: Cosmopolitan Questions. Maidenhead: McGraw-Hill, 2003. Søndergaard, Dorte Marie: Tegnet på Kroppen. København: Museum Tusculanum, 1996 Todorov, Tzvetan: “Typologie du roman policier”. In Poétique de la prose. Paris: Éditions du Seuil, 1971. Todorov, Tzvetan: Mémoire du mal, tentation du bien: Enquête sue le siècle. Ed. Robert Laffont, 2000. Urrichio, William: „Displacing Culture: transnational culture, regional elites, and the challenge to national cinema”. In A. van Hemel et al (eds.): Trading Culture. Amsterdam: Boekmansiching, 1996. Urrichio, William: „Cultural Citizenship in the Age of P2P Networks“. In Ib Bondebjerg & Peter Golding (eds.): European Culture and the Media. Bristol: Intellect, 2004. Urry, John: Consuming places. London: Routledge, 1995. Urry, John: The Tourist Gaze – Leisure and travel in Contemporary Societies. London: Routledge, 1990.

Introduction • References 13 Waade, Anne Marit: ”Rejseholdets Danmarksbilleder”, in: Visuel kultur: historiografi, praksis, positioner, in Passepartout 24, Institut for Æstetiske Fag/Afd. for Kunst­ historie, Aarhus Universitet, 2004. Waade, Anne Marit & Jensen, Jakob Linaa: Rejsefællesskaber på nettet; virtuelle rejsefællesskaber som socialt fænomen, medieret turisme og markeds­kommunika­ ­tion, arbejdspapir CfK, Aarhus Universitet, 2005. Waade, Anne Marit: ”Pilot Gudies as fantastic traveling”, in A. Jansson & J. Falk­ heimer (eds): Geographies of Communication – The spatial Turn in Media Studies. Nordicom, 2006. Zoonen, Liesbet van: Entertaining the Citizen. Oxford, N.Y.: Rowman & Littlefield, 2005.

Introduction • References 14