TV Noir as the new black at MIPCOM 2015, by Anne Marit Waade

IMG_1857 (small)The World Information Tracking’s Virginia Mouseler presented Fresh TV Fiction at MIPCOM in Cannes in October and showed glimpses of new and promising television drama series. Since crime drama is the most popular genre, she had selected new crime drama series from different countries. In this context I find three things of particular interest. Firstly, the fact that all the examples were framed as “Noir”, e.g. “Swedish Noir”, “Belgian Noir”, “Spanish Noir”, “German Noir” and “Argentinian Noir”. This means the Nordic Noir hype not only travels from the Scandinavian countries to other countries, e.g. Wales, Scotland, US (cf. Creeber, 2015), but constitutes a discourse and a way of talking about crime drama series from different markets and countries. In doing so, they emphasize some particular audiovisual and melancholic qualities in the series, in contrast to previous genre terms like police drama and detective drama which tend to emphasize the characters. Secondly, the concept also refers to different languages, and the language as such becomes part of the brand and the quality. This can be seen as a contrast to the predominant American and British crime drama series tradition. Finally, crime drama series from (in this context) small markets and non-typical nations comprised the main part of the examples showed at the WIT, for example from Belgium, Sweden, Iran, Portugal and Argentina. These were the crime drama series that were presented at the Fresh TV Fiction at MIPCOM 2015 in Cannes:

False Flag (Iran)

De Bunker (Belgium)

Coppers (Belgium)

Norskov (Denmark)

Modus (Sweden)

Ängelby (Sweden)

I Know Who You Are (Spain)

Inside (Spain)

Plastic Sea (Spain)

Heart of Gold (Portugal)

Story of a Clan (Argentina)

Signos (Argentina)

Trepalium (France)

The Five (UK)

River (UK)

The Valley (Germany)

Professor T (Germany)

For further information, see the


Anne Marit Waade is an Associated Professor at School of Culture and Communication, Aarhus University in Denmark. More recently she has been focusing on the export of Danish TV drama and on location studies as a specific production study approach, as well as theoretical and methodological approaches to transnational television drama industry, media- and culture tourism as collaboration across industries.

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