[ecrea] Symposium: Crime Pays, Crime Days

*-Crime Pays, Crime Days-*

*Symposium*in Aalborg, Denmark: October 1^st - 2^nd , 2015*. Website:
*http://conferences.au.dk/crime2015/**

*Biffen*, Teglgårds Plads 1, http://www.biffen-aalborg.dk/kort **

*Aalborg University*, Rendsburggade 14, room
5.125-5.127http://www.iscan.hum.aau.dk/Contact/Entrance/




Confirmed keynotes: Sue Turnbull (University of Wollangong), Andrew
Nestingen (University of Washington), Gunhild Agger (Aalborg University)
and Ruth McElroy (University of South Wales). Business and policy
partners: Senia Dremstrup (producer for SF-film) and Dorthe Sevelsted
Iversen (municipality of Frederikshavn).

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 encompass 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’ (/Tatort/) 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?

Four different on-going research projects all deal with crime series in
one way or another. This two-day symposium is arranged as an exchange of
expertise among international television drama scholars as well as
professionals. The research projects include scholars with different
methodological approaches: productions studies, text studies, and
audience studies. 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.

*MeCETES**: *Mediating cultural encounters through European Screens,
HERA, 2013-2017, production-, text-, and audience studies, Andrew Higson
& Ib Bondebjerg, http://mecetes.co.uk.

*SIFTI*:Success in the Film and Television IndustriesNorway/UK/Belgium,
2013-2015, production studies. Eva Bakøy,
http://www.sifti.no/index.php/en/),

*Media Experiences*:Researching Roaming Audiences,2013-2016, UK/Sweden
(Wallenberg Foundation) production and audience studies, Annette Hill,
http://mediaexperiences.blogg.lu.se)

*What Makes Danish TV drama travel?*2014-2018, Denmark (FKK+ AU Ideas),
transnational production-, text-, and audience studies, Anne Marit
Waade, http://danishtvdrama.au.dk)

Registration online:

For invited guests listed below, the deadline isJune 1, 2015
(https://auws.au.dk/crime2015guest). For others the deadline is
September 1^st , 2015 (https://auws.au.dk/crime2015). There will be a
limited number of seats for others than the guests and keynote speakers
listed below.

*Finance**: *Invited guests  cover expenses for travel and accommodation
themselves. Others have to pay for the conference (DKK 1000,-). Thanks
to Aalborg University and The Danish Research Council for the Humanities
for supporting the conference.

See the above website for a preliminary programme.

Organizers: Gunhild Agger (Aalborg University), Anne Marit Waade (Aarhus
University), and Kim Toft Hansen (Aalborg University)



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