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LOCATIONS in TELEVISION DRAMA SERIES GUEST EDITED by ANNE MARIT WAADE and JOHN LYNCH VOLUME III, No 01 · SPRING 2017

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LOCATIONS in TELEVISION DRAMA SERIES GUEST EDITED by ANNE MARIT WAADE and JOHN LYNCH VOLUME III, No 01 · SPRING 2017 LOCATIONS IN TELEVISION DRAMA SERIES GUEST EDITED BY ANNE MARIT WAADE AND JOHN LYNCH VOLUME III, No 01 · SPRING 2017 PUBLISHED WITH THE ASSISTANCE OF EDITORS ABIS – AlmaDL, Università di Bologna Veronica Innocenti, Héctor J. Pérez and Guglielmo Pescatore. E-MAIL ADDRESS GUEST EDITORS [email protected] Anne Marit Waade, John Lynch. HOMEPAGE ASSOCIATE EDITOR series.unibo.it Elliott Logan ISSN SECRETARIES 2421-454X Luca Barra, Paolo Noto. DOI EDITORIAL BOARD https://doi.org/10.6092/issn.2421-454X/v3-n1-2017 Marta Boni, Université de Montréal (Canada), Concepción Cascajosa, Universidad Carlos III (Spain), Fernando Canet Centellas, Universitat Politècnica de València (Spain), Alexander Dhoest, Universiteit Antwerpen (Belgium), Julie Gueguen, Paris 3 (France), Lothar Mikos, Hochschule für Film und Fernsehen “Konrad Wolf” in Potsdam- Babelsberg (Germany), Jason Mittell, Middlebury College (USA), Roberta Pearson, University of Nottingham (UK), Xavier Pérez Torio, Universitat Pompeu Fabra (Spain), Veneza Ronsini, Universidade SERIES has two main purposes: first, to respond to the surge Federal de Santa María (Brasil), Massimo Scaglioni, Università of scholarly interest in TV series in the past few years, and Cattolica di Milano (Italy), Murray Smith, University of Kent (UK). compensate for the lack of international journals special - SCIENTIFIC COMMITEE izing in TV seriality; and second, to focus on TV seriality Gunhild Agger, Aalborg Universitet (Denmark), Sarah Cardwell, through the involvement of scholars and readers from both University of Kent (UK), Sonja de Leeuw, Universiteit Utrecht the English-speaking world and the Mediterranean and Latin (Netherlands), Sergio Dias Branco, Universidade de Coimbra (Portugal), Elizabeth Evans, University of Nottingham (UK), Aldo American regions. This is the reason why the journal’s official Grasso, Università Cattolica di Milano (Italy), Sarah Hatchuel, languages are Italian, Spanish and English. Universitè Le Havre (France), Matthew Hills, Aberystwyth University SERIES is an open access and peer reviewed journal, with (UK), François Jost, Paris 3 (France), Kristina Köhler, Universität Zurich (Switzerland), Charo Lacalle, Universitat Autònoma de Barcelona ISSN and indexed in major international databases. SERIES (Spain), Enrico Menduni, Università Roma Tre (Italy), Manuel Palacio, publishes 2 issues per year. Universidad Carlos III (Spain), Agnes Petho, Sapientia Hungarian This is a joint project by the Universitat Politècnica de University of Transylvania (Romania), Kathrin Rothemund, Universität Bayreuth (Germany), Guillaume Soulez, Paris 3 (France), Imanol València (Escola Politècnica Superior de Gandia) and the Zumalde, Universidad del País Vasco (Spain). Università di Bologna. CONTRIBUTORS FOR THE PRESENT ISSUE Lavinia Brydon (University of Kent), Jørgen Riber Christensen (Aalborg This journal provides immediate open access to its content on University), Rachel Davis (independent children’s television producer), the principle that making research freely available to the public Susanne Eichner (Aarhus University), Alberto N. García (Universidad supports a greater global exchange of knowledge. It releases de Navarra), Kim Toft Hansen (Aalborg University), John Lynch its articles under the terms of Creative Commons Attribution (Karlstad University), Myles McNutt (Old Dominion University), 3.0 Unported License. This license allows anyone to download, Lothar Mikos (Hochschule für Film und Fernsehen “Konrad Wolf” in reuse, re-print, modify, distribute and/or copy the contributions. Potsdam-Babelsberg), Anna Potter (University of the Sunshine Coast), The works must be properly attributed to its author(s). It is Lisa Stead (University of East Anglia), Anne Marit Waade (Aarhus not necessary to ask further permissions both to author(s) or University), Sandra Wagemakers (Tilburg University). journal board, although you are kindly requested to inform the journal for every reuse of the papers. Authors who publish on this journal maintain the copy- READERS (ISSUES 1 AND 2, 2016) Murat Atyas, Monica Barrientos, Alessandro Bertinetto, Carlo rights. Authors are welcome to post pre-submission versions, Biancorosso, Paul Booth, Kristina Busse, Giancarlo Cappello, Paolo the original submitted version of the manuscript (preprint) and Carelli, André Cavalcante, Alessandra Chiarini, Oliver Double, the final draft post-refereeing (postprint) on a personal website, Pablo Echart, Glen Creeber, Liz Evans, Florent Favard, Dan Hassler- a collaborative wiki, departmental website, social media web- Forest, Amy Holdsworth, Monica Jansen, Hartmut Koenitz, Fred sites, institutional repository or non-commercial subject-based Kruger, Anne Kustritz, Elana Levine, Dominik Maeder, Bret Mills, repositories. Self-archiving can happen only upon the accep- Jason Mittell, Felipe Muanis, William Proctor, Salvador Rubio, Lucia tance of the submission. Salvador, Kay Siebler, Mikhail Skoptsov, Kim Walden, Maria Luisa The journal has neither article processing charges nor sub- Zorrilla Abascal. mission processing fees. DESIGN AND LAYOUT Cover illustration Javier Pastor Martín Gràfic INDEX EDITORIAL 5 LOCATIONS IN TELEVISION DRAMA SERIES: INTRODUCTION ANNE MARIT WAADE PRODUCTIONS / MARKETS / STRATEGIES 11 NORSKOV AND THE LOGIC OF PLACE: THE SOFT EFFECT OF LOCAL DANISH TV DRAMA PRODUCTION KIM TOFT HANSEN, JØRGEN RIBER CHRISTENSEN 27 THE GOLD COAST ON SCREEN: CHILDREN’S TELEVISION SELLING BRAND AUSTRALIA IN INTERNATIONAL MARKETS ANNA POTTER, RACHEL DAVIS 41 BERLIN IN TELEVISION DRAMA SERIES: A MEDIATED SPACE SUSANNE EICHNER, LOTHAR MIKOS NARRATIVES / AESTHETICS / CRITICISM 51 BALTIMORE IN THE WIRE AND LOS ANGELES IN THE SHIELD: URBAN LANDSCAPES IN AMERICAN DRAMA SERIES ALBERTO N. GARCÍA 61 BELFAST IN THE FALL: POST-CONFLICT GEOGRAPHIES OF VIOLENCE AND GENDER JOHN LYNCH 73 NARRATIVES OF MIAMI IN DEXTER AND BURN NOTICE MYLES MCNUTT CULTURE / RECEPTION / CONSUMPTION 87 TILBURG IN SMERIS: LOCAL AUDIENCES ENGAGING WITH (FAMILIAR) LOCATIONS ON NATIONAL TELEVISION SANDRA WAGEMAKERS 101 THE ENGLISH VILLAGE IN EMMA: AN EMPIRICAL STUDY OF HERITAGE DRAMAS, LOCATION FILMING AND HOST COMMUNITIES LAVINIA BRYDON, LISA STEAD EDITORIAL LOCATIONS IN TELEVISION DRAMA SERIES: INTRODUCTION ANNE MARIT WAADE In this special issue, the guest editors will invite the reader During the last decades, television drama series have be- to come with us to cosmopolitan cities such as Berlin, Los come “prized” content and valuable sales for broadcasters, Angeles and Miami, and to more ambiguous urban land - online platform providers and distributors, and the produc- scapes such as Belfast and Baltimore. Moreover, we will tion value and the budgets for such series have increased guide you to the provincial, industrial city of Frederikshavn (McCabe and Akass 2007, Nelson 2007, Lotz 2014, Steemers in the northern part of Denmark, and to Tilburg and the 2016). As part of this development, the aesthetic and narrative Brabant region in The Netherlands. Don’t miss the touristic elements of television drama have changed, and we now see sites in Australia, namely the beaches in Sydney and at the more complex narratives and characters as well as more scenic Gold Coast, nor the rural, historical village Chilham, located imagery and sophisticated visual aesthetics when it comes to in Kent in the UK. All these places have one thing in common: settings, lighting, colours and production design (Mittell 2015, they play a significant part in one or several television drama García 2016, Wheatley 2016). This tendency has opened up series. On behalf of the crew of authors, editors and myself, new ways of using and displaying the places that are featured I will welcome you on board, and I wish you a pleasant and in television series: there is greater use of location shooting, eye-opening journey! and a more significant handling of actual, geographical plac- 05 SERIES VOLUME III, Nº 1, SPRING 2017: 05-10 DOI 10.6092/issn.2421-454X/7138 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X LOCATIONS IN TELEVISION DRAMA SERIES EDITORIAL > ANNE MARIT WAADE INTRODUCTION es - something that gives authenticity and visual values to the character”. But this overlooks substantial differences between series. Location, a term that until recently has mainly been a characters, plot and setting in a drama series (for an elaborated practical term in television productions and television studies, discussion in this regards, see McNutt’s article in this issue). has received new attention among producers, broadcasters, Les Roberts (2012) introduces the idea of cinematic ge- distributors, fans and audiences. Academics have picked up on ography as an interdisciplinary approach that reflects upon the interests for locations and related them to theories such the relation between the film or television drama series and as cinematic landscapes, landscape painting, literary places, the geographical place of the actual city, and demonstrates media geography, media consumption, media tourism and the complex interplay between the economic, artistic and cult geographies (Hills 2002, Lefebvre 2006, Reijnders, 2011, practical interests that are at stake when it comes to audio-vi- Månsson 2015, Hansen and Waade 2017). sual productions. Roberts’s work is a contribution to a more Popular television series and brands – such as Game of general and increasingly widespread interest in the relation Thrones, Sex and the City, Nordic Noir, The Fall, Cities and The between media and geography (Couldry and McCarthy
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