Czy Szekspira da się „przerobić” na kryminał? O niektórych nowych, „uwspółcześniających” filmowych adaptacjach dzieł wielkiego dramaturga

The paper discusses selected screen adaptations of Shakespeare’s plays: Hamlet (dir. M. Almereyda, 2000), Coriolanus (dir. R. Fiennes 2011), Macbeth (dir. G. Wright, 2006), Cymbeline (dir. M. Almereyda, 2014), Macbeth (an episode of the BBC series Shakespeare Re-Told, 2005) as well as episodes 3 and 4 from Yevhenіy Zviezdakov’s series Diekoracyi ubijstwa (2015). The common feature of these screen adaptations is moving the plot to modern times and emphasising those elements which resemble typical components of crime dramas. The paper points to the difficulties the directors had to overcome to make such “upgrading” makeovers viable.

Children and Adolescents’ Third-Person Perception Regarding Depictions of Violence in Different TV Genres

Research in third-person perception (TPP) is well-established. The current study contributes to the literature by examining differences in the perceptual bias attributable to different television genres: Teen Dramas, Crime Dramas, and Super Hero/Fantasy Shows. A field survey of middle school and high school students (N = 1,255) documented third- person perception regarding depictions of abuse on television watched by children and adolescents, as well as a unique third- person effect: Intended bystander intervention when witnessing peer bullying in real life.

Reality Crime Programs in Turkish Television: The Notorious Case of Palu Family on Müge

The crime drama has always been popular on radio and television. Following this popular programming type, these programs found its way into reality crime programs. The reality crime programs emerged in U.S television in the late 1980s as the combination of news, crime dramas, and even horror genre. The reality crime programs placed themselves mainly in two formats in the television world. There is a vignette format where actors reenact actual crimes, and another one is the live-action format. It is the 1990s for Turkey to introduce reality television to the audience. One of the popular programs that were first broadcasted on ATV in 2008 hosted by Müge Anlı is the Müge Anlı ile Tatlı Sert. After we discuss the popularity of the reality crime television and the cases from American television, MATS is discussed as a certain criminal case from Turkey. This case is publicly recognized as Palu Family. This article argues how the case of the Palu Family became a televised public psychosis in MATS which is a hybrid reality crime program. With this regard, we will study family violence, sexual abuse, and homicide that have become publicly available to the audience. Keywords: reality TV, reality crime programs, infotainment, crime, Turkish television, Müge Anlı

The Geopolitics of Nordic Noir

The “golden age” of Scandinavian television has often been associated with Nordic Noir crime dramas, yet many of the acclaimed serials also engage with geopolitical themes such as migration, cross-border crime, military conflicts, and global terrorism. In this article, we examine the ways in which Nordic Noir contributes to discourses on such topics. We look specifically at the dramas Okkupert [Occupied] (NRK, 2015–), Ørnen [The Eagle] (DR, 2004–2006), Nobel – fred for enhver pris [Nobel – Peace at any Cost] (NRK, 2016), and Kriger [Warrior] (Netflix, 2018–) as they explore potential threats to Scandinavian society and the Nordic welfare state through the distinct figure of the vigilante veteran. Returning soldiers, as we argue, are particularly productive of geopolitics because they are shown to be adept (even well suited) to dealing with the geopolitical uncanny. They, in fact, problematise the positive Scandinavian self-image. While Scandinavian society, as can be inferred from the dramas, has become hypocritical and complacent owing to a very high standard of living, the veterans are the only people adept at responding to threats and crises.

Media Evidence and Forensic Journalism

This essay engages with the question of surveillance and evidence by considering the use of media forensics in journalistic storytelling. The use of video evidence and other data derived from surveillance systems to assemble investigative news results in a documentary form of what Thomas Levin (2002) calls surveillant narration—a tendency in cinema to treat surveillance thematically while at the same time incorporating it into the structure of the narration itself. If using surveillance as the structure of journalistic narration seems like a natural fit, it is for its aesthetic effect as much as its evidentiary value. Forensic journalism is emerging as one site where media forensics becomes formalized as a product of popular consumption and sense-making, taking its place alongside forensic-themed reality television and fictional crime dramas like CSI, as much as real forensic investigations and legal proceedings.

Images of the European Crisis: Populism and Contemporary Crime TV Series

During the last two decades a dramatic shift in the production and distribution strategies of TV series has taken place on a global level. This article discusses how these broad changes also led to a transformation in the form and the themes of European crime series, which emerge as ideal objects to study the representation of European societies in contemporary popular culture. The article looks at recent serial crime dramas such as La casa de papel, Suburra, and Peaky Blinders, which have abandoned the classic formula of European crime TV series, usually focused on the figure of the detective and primarily addressed to a national audience. Designed for an international market, these series provocatively concentrate on the figure of the criminal and adopt an explicitly sensationalist approach. The article argues that this style and the bleak depiction of European society in these series are both an expression and a critical representation of the rise of populism across the Old Continent.

Canadian Noir: Consumer Culture, Colonial Nationalism and the Cardinal Series

Giles Blunt’s Cardinal police-procedural novels and their recent television adaptations evidence the noir genre’s sombre aesthetic, focus on a morally tainted hero, are preoccupied with seemingly irrational violence, and fixate on unresolved past injustices. In doing so, they reflect Canada’s aesthetic and ethical relationship to questions of national and transnational culture, colonial territoriality, and the moral principles at stake in the representation of violence. This Canadian ‘re-branding’ of noir features is haunted by deep-seated historical dissension and the present-day repercussions that are at the heart of the country’s national identity. Focusing on the first season of Cardinal (2017) and the novel from which it was adapted, Forty Words for Sorrow (2002), this essay examines the series’ stylish – if conflicted – reworking of noir’s roots in American crime fiction and film, and its use of contemporary Nordic influences, which work to salvage a form of Canadian cultural authenticity from the cultural dominance of US television and film crime dramas.