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Zusatztext Move over German film, German television has the global audience! In this study, Sunka Simon offers us insight into the German, European, and global media industry in its major transformations from the 1970s to the present. She explores how the successful appeal of streaming blockbuster series developed out of domestic television strategies. And, she offers excellent close readings of not only the long-running Tatort crime series but also some of Netflix’s biggest contemporary hits. Informationen zum Autor Sunka Simon received her PhD from Johns Hopkins, University, USA. She is Professor of German, Film and Media Studies at Swarthmore College, USA. Simon is the author of Mail-Orders. The Fiction of Letters in Postmodern Culture (2002) and co-author of Globally Networked Teaching in the Humanities (2015). Her articles and courses focus on German, European, and U.S. popular culture, specifically television, cinema, and popular music. Vorwort Compares the flagship broadcast program Tatort (ARD, 1970-) and the first German, Netflix crime series Dark (2017-), Dogs of Berlin (2017-) and Perfume (2018-) to show how and why the scripted crime dramas resort to particular narrative and aesthetic formations in their different media platforms. Zusammenfassung German Crime Dramas from Network Television to Netflix approaches German television crime dramas to uncover the intersections between the genre’s media-specific network and post-network formats and how these negotiate with and contribute to concepts of the regional, national, and global. Part I concentrates on the ARD network’s long-running flagship series Tatort ( Crime Scene 1970-). Because the domestically produced crime drama succeeded in interacting with and competing against dominant U.S. formats during 3 different mediascapes, it offers strategic lessons for post-network television. Situating 9 Tatort episodes in their televisual moment within the Sunday evening flow over 38 years and 3 different German regions reveals how producers, writers, directors, critics, and audiences interacted not only with the cultural socio-political context, but also responded to the challenges aesthetically, narratively, and media-reflexively. Part II explores how post-2017 German crime dramas ( Babylon Berlin, Dark, Perfume, and Dogs of Berlin ) rework the genre’s formal and narrative conventions for global circulation on Netflix. Each chapter concentrates on the dynamic interplay between time-shifted viewing, transmedia storytelling, genre hybridity, and how these interact with projections of cultural specificity and continue or depart from established network practices. The results offer crucial information and inspiration for producers and executives, for creative teams, program directors, and television scholars. Inhaltsverzeichnis Acknowledgements Introduction 1. Screening Globally, Watching Locally 2. The Long Life of Crime - Lessons for Post-Network Television3. Program Guide Part One – Watching Tatort since 1970 Part Two – Watching German Crime Dramas on Netflix since 2017 Part I – Network Television 1. History and Format of the Crime Series Tatort (Crime Scene) (ARD, 1970- ) o Innovating within the Tried and True o Intersections of National, Regional, and Local Viewing o Tatort-Tourism o “Close to Reality” 2. Following the Flow - The National News, Regional Crimes, and Global Literacy3 . Tatort Hamburg (NDR)o “Rechnen Sie mit dem Schlimmsten!” (Worst-Case Scenario, NDR, September 24, 1972)o “Voll auf Hass” (Committed to Hate, NDR, November 8, 1987)o “Auf der Sonnenseite” (On the Sunny-Side, NDR, October 26, 2008)4 . Tatort Berlin (SFB/RBB)o “Keine Tricks, Herr Bülow” (No Tricks, Mr. Bülow, RBB/SFB...
