Bøger af Kim Toft Hansen

Vi kigger på det, men ser det sjældent: Production design. Når vi ser film, tv-serier, computerspil og andre audiovisuelle medier, husker vi oftest fortællingen, men kun i særlige tilfælde det miljø, univers og visuelle udtryk, som omgiver fortællingen. Alt det omgivende kaldes med et samlende begreb production design. Production design bygger verdener og er altså allestedsnærværende i billedet, men bliver ofte ubevidst registeret som baggrund og overset. Production design - fra proces til udtryk præsenterer en ny analysemodel til at forstå og undersøge production design som både en kreativ designproces og som et designudtryk. Bogen er baseret på interviews med en række fremtrædende, danske production designere, som i denne anledning giver dyb indsigt i deres arbejde og adgang til deres arbejds- og researchmaterialer. Bogen demonstrerer, hvordan et tæt samspil mellem akademiske mediestudier og mediebranchen kan bidrage til at styrke og forny arbejdet med production design. Bogen er rettet mod studerende på og forskere ved film- og medieuddannelser, der arbejder med production design på et akademisk-analytisk eller praktisk-kunstnerisk niveau.

This book is a comprehensive study of peripheral locations in contemporary European TV crime series. Ambitiously, it covers the complete geography of Europe, and offers a nuanced image of a changing, dynamic, and unfinished continent. The chapters include analyses of the practical, creative approach to producing crime series in European peripheries and rural areas, evaluating a continent marked by an internal crisis between urban and rural Europe. The study includes readings of crime series such as Shetland, Bitter Daisies, Trom, Pagan Peak, and The Border, but presents such representative cases within broader tendencies on the European TV market, including challenges from streaming services, the influence of Nordic Noir, and changes within the cognitive geography of Europe. The authors position peripheral European crime series in a complex relationship between universal appeal and local recognisability and offer a comprehensive theoretical approach to the aesthetics of peripherality. Grounded in desktop production studies, the book presents an original scholarly approach to analysing European crime series from a continental point of view. Despite local differences, the spatio-generic orientations scrutinized in the book - Nordic Noir, Mediterranean Noir, Country Noir, Eastern Noir, and Brit Noir - show remarkable aesthetic similarities in series from territories otherwise normally unconnected in television production. Consequently, television crime series reveal a common tongue and voice for dialogue on a continent in a deepening crisis.

The authors position the development of Nordic Noir in the global market for popular television drama and place the international attention towards Nordic crime dramas within regional development of drama production in Sweden, Denmark, Norway and Iceland.