Introduction

García-Martínez, A.N.

doi:10.1007/978-1-137-56885-4_1

Cited by 5 publications

(2 citation statements)

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“…Within film and television studies there has been a growing interest in affect, emotions and feelings (Garcia, 2016; Grodal, 2002; Kennedy, 2001; Laine, 2013; Marks, 2000; Pribram, 2011; Stavning Thomsen, 2018; Weik Von Mossner, 2014). This interest has started to spill over into studies of mood and atmosphere in film and television (McKim, 2013; Plantinga, 2012; Walton, 2018), but these perspectives are still few and far between.…”

Section: From Mood To Stimmungmentioning

confidence: 99%

Analysing the melancholy of Nordic Noir as stimmung: Affective world-building inThe Bridge

Siem

2022

Critical Studies in Television: The International Journal of Te

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Scholars of crime fiction continuously discuss what Nordic Noir series have in common, arguing that it is a genre, a brand and a style respectively. Instead, this article explores Nordic Noir as an atmosphere, observed through the concept of stimmung, and argues that affective world-building in TV-series should be analysed beyond matters of style and narrative. Based on an analysis of The Bridge (2011–2018), the article discusses the aesthetic and critical potentialities of attuning oneself to the melancholic world of Nordic Noir and demonstrates that the affective quality of a series impacts how its themes can be read.

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Section: From Mood To Stimmungmentioning

confidence: 99%

Analysing the melancholy of Nordic Noir as stimmung: Affective world-building inThe Bridge

Siem

2022

Critical Studies in Television: The International Journal of Te

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“…This fact is the starting point for the recent publication Emotions in contemporary TV series (Garcia, 2016), in which the authors discuss the 'emotional turn' in relation to television drama series and how theories from philosophy, psychology, sociology and aesthetics respectively can provide new perspectives on the understanding of why television drama has become so popular and how television series relate to the viewers' everyday culture. Martinéz and González (2016) and González, 2016: 19).…”

Section: Emotions In Tv Dramamentioning

confidence: 99%

Melancholy in Nordic noir

Waade

2017

Critical Studies in Television: The International Journal of Te

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Nordic Noir on screen is characterised by a certain melancholy displayed in the plot, the imagery and the characters. These elements also characterise Scandinavian crime fiction, for example the troubled protagonists and the climate. Nordic Noir has attracted considerable interest among audiences and academics. However, none of the academic contributions reflect the connection to the historical Nordic Melancholy. In this article

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Odessan courtyard as a symbol of humor and nostalgia on Russian television

Kabanen

2021

Russian Journal of Communication

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Odessa as a place of contradictions, the mythological 'cradle of Revolution' and the capital city of humor, is an essential part of Soviet and post-Soviet culture. Recently, there seems to be an increased longing for simple values and genuine interpersonal relationships that could be found in places of communal living, such as the (in)famous Odessan courtyards. Television and film industry feed the nostalgic feelings with productions set in Odessa, and the scenes that take place in Odessan courtyards often feature reassuringly stereotypical characters. The aim of this article is to analyze how humor and nostalgia are conveyed in such content and the emotional response they obtain from the audience.

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Introduction

Cited by 5 publications

References 0 publications

Analysing the melancholy of Nordic Noir as stimmung: Affective world-building inThe Bridge

Analysing the melancholy of Nordic Noir as stimmung: Affective world-building inThe Bridge

Melancholy in Nordic noir

Odessan courtyard as a symbol of humor and nostalgia on Russian television

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