Titlebook: Nordic Noir, Adaptation, Appropriation; Linda Badley,Andrew Nestingen,Jaakko Sepp?l? Book 2020 The Editor(s) (if applicable) and The Autho

BALK

Realistic and Mythological Appropriations of Nordic Noir: The Cases of , and ir, and the implications of location, especially the significance of the island. A dominant trend in Nordic noir explores a socially realistic universe. It is supplemented by another trend hinging on mythological or supernatural layers. On the background of the center–periphery binary and the island

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Arctic Noir on Screen: , (2016–) as a Mix of Geopolitical Criticism and Spectacular, Mythical Landscir not only adapts the double premises that characterize Nordic noir and Scandinavian crime fiction in general, the combination of a public-interest narrative thread, often political, with a crime investigation. It also demonstrates a . including (a) the crime plot and its setting, (b) the political

Largess

Arctic Noir: Revitalizing Sámi Culture Through Film Noirges of indigenous Sàmi culture. Using Nils Gaup’s noir-feature . (2014) as an example, the chapter analyzes the adaptation of a serial killer crime novel set in the far north in order to discuss how author Jorun Th?rring and director Nils Gaup create new and unconventional images of Arctic noir. The

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NICE

Revisiting the Crime Scene: Intermedial Translation, Adaptation, and Novelization of synchronized Danish and US television serials and as an English-language novelization, disseminated through multiple translations. This chapter interrogates the cross-cultural and intermedial adaptation networks of . by exploring the ways in which this audio-visual text allows us to reflect on cent

不妥協(xié)

“Why Don’t We Do Television Like That in the UK?”: Promotional and Paratextual Strategies in the Traeting across different national and regional markets and on a plethora of content delivery platforms. Here, promotional strategies such as trailers and television spots carry considerable weight for understanding how content is targeted at specific audiences and how they are positioned in the wider

熄滅

The Postman Rings Yet Agains, with French, Italian, and American versions as the most prominent. Lesser known is the Norwegian reworking of Cain, with the film ., made by Edith Carlmar (director) and Otto Carlmar (producer) in 1949. This article will demonstrate the close resemblance between . and Tay Garnet’s adaptation of .

Asymptomatic

Nordic Noir: The Broad Picturelodramatic pathos, the emotional experience of crime, links with local/global social contexts, and a realist aesthetics. It explores the similarities that connect the two versions of . (2005–2013, SE; 2008–2016, UK), . (2011, UK) . (2013–, USA), . (2009, RO), and . (2015–2016, SP), arguing that they

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Anticipating Adaptation and Tracing the (In)Visible: David Lagercrantz’ , as Implicit Film Scriptre it was, in black-and-white, taking up space.” When the first post-Larsson sequel . was released in 2015, it became apparent that author Lagercrantz had listened to Ephron’s criticism, as the book is saturated with cultural codes pandering to global audiences. This article will draw upon adaptatio

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