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List of contents
Acknowledgements
1. Introduction: The Crime Fiction Migration Effect
2. Migrating into other Media
2.1. On novelisation: The case of The Killing
2.1.1. The Forbrydelsen effect
2.1.2. Writing The Killing down
2.2. On filmic adaptation: We need to talk about Kevin some more
2.2.1. On the book’s traumatic linguistic style
2.2.2. ‘Nobody loves an adaptation’ (Boyum, 1985: 15), or do they?
2.3. On theatrical adaptation: Even more Curious Incidents
2.3.1. Curious Prose
2.3.2. Curious Drama
3. Migrating into other Mainlands
3.1. On Translation: Greek Markaris’ Late-Night News novel into English
3.1.1. Criminal Late-Night News
3.1.2. Anglophonising the News
3.2 On filmic remaking: Americanising Austrian Funny Games
3.2.1. Deviant Metafilmic Games
3.2.2. Americanising the Games
3.3. On theatrical remaking: Greeking Shear Stylistic Madness
3.3.1. A ’mad’ detective play unlike any other
3.3.2. Metatheatrical Madness
4. Conclusion
References
Index
About the author
CHRISTIANA GREGORIOU is Lecturer in the School of English at the University of Leeds, UK.
Summary
Crime narratives form a large and central part of the modern cultural landscape. This book explores the cognitive stylistic processing of prose and audiovisual fictional crime 'texts'. It also examines instances where such narratives find themselves, through popular demand, 'migrating' - meaning that they cross languages, media formats and/or cultures.
In doing so, Crime Fiction Migration proposes a move from a monomodal to a multimodal approach to the study of crime fiction. Examining original crime fiction works alongside their translations, adaptations and remakings proves instrumental in understanding how various semiotic modes interact with one another. The book analyses works such as We Need to Talk About Kevin, The Killing trilogy and the reimaginings of plays such as Shear Madness and films such as Funny Games.
Crime fiction is consistently popular and 'on the move' - witness the spate of detective series exported out of Scandinavia, or the ever popular exporting of these shows from the USA. This multimodal and semiotically-aware analysis of global crime narratives expands the discipline and is key reading for students of linguistics, criminology, literature and film.
Foreword
Explores how crime narratives carry meaning when they 'travel' from one place to another, crossing the boundaries of the language, culture and medium in which they were created.
