[ecrea] conference : CRIME PAYS, CRIME DAYS

Invitation to conference

CRIME PAYS, CRIME DAYS
Aalborg, Denmark, October 1-2, 2015.
Register at conference website: http://conferences.au.dk/crime2015/
Full programme available at website.

Keynotes: Sue Turnbull, Ruth McElroy, Annette Hill, Andrew Nestingen and 
Gunhild Agger
Speakers include: Steven Peacock, Elke Weissman, Tim Raats, Kerstin Bergman
Industry partners include: Lars Blomgren (Filmlance), Senia Dremstrup 
(SF-film)

Genres of crime are diverse and in constant development. Crime fiction 
adapts to other genres as well as other media in order to develop. 
Nevertheless, traditional crime series still attract a lot of attention 
and crime is still, across national and international television 
traditions and new ways of watching, very conspicuous in prime time 
television.

Long-running TV-shows such as Tatort (1970-), Der Alte (1976-) and 
Midsomer Murders (1996-) still en-compass the power of genre traditions, 
while so-called 'quality TV-series' such as The Wire (2002-08) and True 
Detective (2014-) serve as examples of genre renewal. Somewhere between 
tradition and renewal, between national and transnational attention, we 
find the Scandinavian brand Nordic noir with series such as The Killing 
(2007-12) and The Bridge (2011-) - in the UK followed by Broadchurch 
(2013), Hinterland  (2013) and Shetland (2013). All of the above 
mentioned examples combine local/national and transnational elements, 
but they do so in different ways. Some of the shows are 'steady-sellers' 
(Tatord) while others are contemporary 'bestsellers' suspended after 
three seasons (The Killing). An intentional transnational trend is 
recently represented by The Team (2015) and Fortitude (2015).

We ask the following questions: Does crime (still) pay, or is the genre 
on television challenged by other genres and other audience interests? 
Which picture do ratings show? How well does crime pay financially and 
in terms of public response and goodwill? In which ways has crime series 
production developed over the years? Can the crime genre keep up its 
peak position in popular television drama? What happens to production 
traditions, audience response and content when crime series are produced 
and distributed by on-demand streaming services, e.g. Netflix?

It is our aim to bring together these projects with industry partners 
and other international experts of crime series on television. The 
symposium seeks to establish a common ground for knowledge exchange in 
order to better understand the persistence of crime in television drama. 
We bring together experts in crime series in order to uncover the myths 
of crime fiction and pose key questions about the perseverance of a 
dominant television genre.



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