Here are 100 books that European Television Crime Drama and Beyond fans have personally recommended if you like
European Television Crime Drama and Beyond.
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My mother called me a “television junkie.” In graduate school, where TV was not yet considered a worthwhile scholarly endeavor, I became enthralled by Twin Peaks and Roseanne. Rebelliously, I thought both had so much to say about gender studies and theories of postmodernism. Absent of an official curriculum, I started reading and writing about television history, medium specificity, genre theory and seriality. I got my PhD and published articles on film, TV, and my book. Since 1992, I have developed several television studies courses for our small media studies department: Crime Drama, Reality TV, Gender and Genre on Television, Transmedia Adaptations, and Media Rituals.
It is not easy to find books in English about German television series, even if they are big hits on a globally accessible streaming platform. I love this book because it explores every facet of the rich audio-visual tapestry that is the period crime drama Babylon Berlin.
Given its complex narrative and allusion to specific events, the history buff in me wanted to know whether the specific atrocities (e.g., “Blood May”) were portrayed accurately, but I was similarly intrigued to read more about the pop music, club, and fashion scenes of Weimar era Berlin. The scholars’ different critical approaches enriched my viewing experience of the show’s third season immensely.
The essays in this collection address the German television series Babylon Berlin and explore its unique contribution to contemporary visual culture.
Since its inception in 2017 the series, a neo-noir thriller set in Berlin in the final years of the Weimar republic, has reached audiences throughout Europe, Asia, and the Americas and has been met with both critical and popular acclaim. As a visual work rife with historical and contemporary citations Babylon Berlin offers its audience a panoramic view of politics, crime, culture, gender, and sexual relations in the German capital.
Focusing especially on the intermedial and transhistorical dimensions of…
My mother called me a “television junkie.” In graduate school, where TV was not yet considered a worthwhile scholarly endeavor, I became enthralled by Twin Peaks and Roseanne. Rebelliously, I thought both had so much to say about gender studies and theories of postmodernism. Absent of an official curriculum, I started reading and writing about television history, medium specificity, genre theory and seriality. I got my PhD and published articles on film, TV, and my book. Since 1992, I have developed several television studies courses for our small media studies department: Crime Drama, Reality TV, Gender and Genre on Television, Transmedia Adaptations, and Media Rituals.
I was curious about the differences between British and U.S. crime dramas. Sure, some of them were obviously connected to the differences in justice systems and police infrastructures, but this book explores not only the historical development of the two countries’ crime dramas but also why each resulted in different gender representations and aesthetic formats, along with different avenues towards viewer engagement.
I loved Turnbull’s foundational text for its clarity, breadth, and readability.
This title maps the development of the crime drama on international television. The television crime drama has been a constant of the television landscape since it first migrated from film and radio onto the small screen in the 1950s. Since then, from Dixon of Dock Green to The Wire, from Minder to The Sopranos or Cracker to Dexter, the crime drama has continued to attract large audiences even as the depiction of the crime, the perpetrators and the investigators has changed. This book provides an historical analysis of the TV crime series as a genre by paying close attention not…
My mother called me a “television junkie.” In graduate school, where TV was not yet considered a worthwhile scholarly endeavor, I became enthralled by Twin Peaks and Roseanne. Rebelliously, I thought both had so much to say about gender studies and theories of postmodernism. Absent of an official curriculum, I started reading and writing about television history, medium specificity, genre theory and seriality. I got my PhD and published articles on film, TV, and my book. Since 1992, I have developed several television studies courses for our small media studies department: Crime Drama, Reality TV, Gender and Genre on Television, Transmedia Adaptations, and Media Rituals.
Growing up with the German Tatort (Crime Scene) and also with Columbo and Kojak, I always wanted to revisit these entertaining crime dramas from today’s perspective. How do they fare amidst the continuing proliferation of single white men as lead detectives on network and streaming platforms (Sugar, Lincoln Lawyer, etc.) and when compared to the more diverse representation in Dark Winds, Luther, and True Detective?
Hastie’s book provided rich fodder for my lingering curiosity in covering behind-the-scenes aspects, exploring what made Columbo resonate with network viewers trained on Dragnet, and why Peter Falk’s character became such an archetypical detective figure for global television.
For decades, generations of television fans have been enraptured by Lt. Columbo, played by Peter Falk, as he unravels clues to catch killers who believe they are above the law. In her investigation of the 1970s series cocreated by Richard Levinson and William Link, Amelie Hastie explores television history through an emphasis on issues of stardom, authorship, and its interconnections with classical and New Hollywood cinema. Through close textual analysis, attentive to issues of class relations and connections to other work by Falk as well as Levinson and Link, Columbo: Make Me a Perfect Murder sees American television as an…
My mother called me a “television junkie.” In graduate school, where TV was not yet considered a worthwhile scholarly endeavor, I became enthralled by Twin Peaks and Roseanne. Rebelliously, I thought both had so much to say about gender studies and theories of postmodernism. Absent of an official curriculum, I started reading and writing about television history, medium specificity, genre theory and seriality. I got my PhD and published articles on film, TV, and my book. Since 1992, I have developed several television studies courses for our small media studies department: Crime Drama, Reality TV, Gender and Genre on Television, Transmedia Adaptations, and Media Rituals.
I love reading, rereading, and teaching with this book. Whenever I open it, I learn something new or remember crucial aspects that enhance my understanding of television as a medium, my enjoyment of specific shows or genres I watch, and find new ways of engaging with production, representation, and performance aspects.
I have now taught with it since his earlier 2011 volume (Critical Approaches) and am only sad that this one appears to be the final edition. It is chock-full of intriguing case studies and deft explanations of what makes television television.
For over two decades, Television has served as the foremost guide to television studies, offering readers an in-depth understanding of how television programs and commercials are made and how they function as producers of meaning. Author Jeremy G. Butler shows the ways in which camera style, lighting, set design, editing, and sound combine to produce meanings that viewers take away from their television experience.
Highlights of the fifth edition include:
An entirely new chapter by Amanda D. Lotz on television in the contemporary digital media environment.
Discussions integrated throughout on the latest developments in screen culture during the on-demand era-including…
I love psychological thrillers because I have firsthand dealt with OCD and gaslighting. Therefore, I find the human mind fascinating, and how the line between sanity and insanity is changeable. I think as humans we want to feel safe and hence, we box things into categories but all these thrillers I have recommended force you to look outside of the boxes and they can be chillingly thought-provoking. I am obsessed with writing that gives the reader such graphic insight into a character’s thoughts and actions. If you want unputdownable books, these are the ones for you!
This book really influenced the direction I took with my own thriller writing. I remember not being able to put it down.
Julia Crouch is supremely talented at setting the happy family scene whilst bringing in an underlying threat that may bring the ‘perfect family’ to its knees. The joy of psychological thrillers like this one is the feeling of being a voyeur. You are invited into this deliciously idyllic life which slowly disintegrates in front of you. A must read!
A dark, juicy, deliciously unsettling, read-it-in-one-sitting psychological drama. Rose has it all - the gorgeous children, the husband, the beautiful home. But then her best friend Polly comes to stay. Very soon, Rose's cosy world starts to fall apart at the seams - her baby falls dangerously ill, her husband is distracted - is Polly behind it all? It appears that once you invite Polly into your home, it's very difficult to get her out again...
I'm a full-time author and freelance editor from a small Canadian city, and I’ve always been fascinated by a good mystery—flipping through the pages, trying to guess who did or didn’t do it. Dark and gritty are my favorites, and the titles on this list do a good job of staying in that realm while still being very much YA. I hope you love them as much as I did!
Kacey, the new girl in Broken Falls who has two best friends, Bailey and Jade. There’s a sinister vibe in this book, right off the top; something feels off with this friend group, and when Bailey goes missing, we—as readers—are left flipping the pages, trying to find out what could have happened.
This is one of those books where you really feel like you can’t trust anyone—even the main character. I loved how this story kept me guessing until the very end. Its gritty, filled with family and friendship drama, and the wintery setting make it all the more haunting of a read.
For fans of Pretty Little Liars, comes a psychological thriller, from the author of The Cheerleaders, about about how when you're the new girl in town, you can't trust anyone, especially other teenage girls.
Kacey is the new girl in Broken Falls. When she moved in with her father, she stepped into a brand-new life. A life with a stepbrother, a stepmother, and strangest of all, an adoring younger half sister.
Kacey's new life is eerily charming compared with the wild highs and lows of the old one she lived with her volatile mother. And everyone is so nice in…
Having spent most of my life in the Midwest, I know a little (or a lot) about growing up in a small-town environment. When I was younger, I was annoyed by all the things I now find charming about this genre of romance books. The nosy neighbor, the know-it-all jock, the downtrodden wallflower? Stereotypical but oh-so-real. I have written several series set in small towns and have come to love them all. It’s now my go-to genre when I want to sit and relax.
I think so many of us can relate to the day-to-day life of Charlie, a single mom just trying to make it one more week. Charlie is charming with the perfect level of quirky.
One of the things I love about small-town romance is how the community comes into play. I love that his book has an amazing balance of that as well as a steamy romance between Charlie and Reid.
I fell in love with Italy when I traveled there with my family in 2013. While touring through this fascinating country, I felt inspired to write about it. When I came home, I threw myself into research. That research spawned my debut novel, Into the Lion’s Mouth, which is set in Renaissance Venice. I am always on the lookout for all things Italian, podcasts, TV shows, and definitely books. Since middle grade is my sweet spot, I am a sucker for a middle grade book set in Italy. Here are some of my favorites that will have you browsing airplane tickets to Italy and beyond.
Here’s another magical adventure that has such potential to be a series. Set in a Venice that is full of actual magic this book will appeal to the Harry Potter lovers in your life. Aribella must use her newly found magic to save the city from a grim future at the hands of the villain Zio. Although a fantastical Venice there are plenty of true-to-life details like the Lion’s Mouth, gondolas, and a ruling doge. I really loved the twists at the end. Middle grade readers will be captivated.
Aribella lives in Venice, the daughter of an impoverished lace-maker. But she has a deadly secret: when angered, sparks shoot from her fingertips. Unable to keep her power hidden, she flees - but when dark spectres rise from the lagoon, the fire in her hands saves her life. A stranger witnesses the attack - and through him, Aribella leaves her old life behind and discovers the world of the Cannovacci, magical warriors sworn to defeat the strange spectres menacing the city ...
WINNER of the North Somerset Teachers' Quality Fiction Award 2020
Since 1996 when my first trip to Venice rearranged my interior life, I have been visiting the city and learning everything I can about it. Most of my reading led me to men’s history, but with some digging, I uncovered the stories of Venice’s inspired, undaunted, hardworking women. Their proto-feminism motivated me to share their stories with others in an attempt to redefine beauty. I’ve also created videos showing sites connected to these women’s lives, and I’ve written four books about Venetians, including extensive research into Giacomo Casanova and two anthologies celebrating Venetian life. Reading and writing about Venice helps me connect more deeply with my favorite city.
Giacomo Casanova, mostly remembered as an adventurous lover, wrote over a million words about his own life.
Here in Casanova’s Women, Summers turns the spotlight onto the women whom Casanova loved. I’ve read Casanova’s memoirs and have written a book about Casanova in Venice, but it was Summers’ chapters that made me reconsider perspective: How true is a story when it’s told from only one viewpoint?
Summers elevates the voices of these women, such as Casanova’s actress mother, the nuns who were his lovers, the adventurous sisters that he lost his virginity to, and the hometown girl who created one of London’s premier social spots. Their voices are invaluable in learning the fuller story.
Eighteenth-century Venetian adventurer Giacomo Casanova, history's most famous seducer, talked his way into the beds of more than 200 women. Charming, brilliant and devastatingly attractive, the compulsive womaniser claimed to like and understand his conquests. But he could also be ruthless, cruel, selfish and dishonest. Who were these women who established Casanova's extraordinary reputation? From the two sisters with whom he had his first sexual experience to the libidinous Venetian nun who defied God in order to sleep with him, from the wealthy widow he tricked out of a fortune to the love of his life, the glamorous and daring…
As an author/illustrator of 26 books for children and a full-time teacher of 3 year old’s in a nursery school. I read 1-2 books to a classroom of little critics every day. I’m also a lover of adventure although most of my adventures take place in my mind, the library or museum! As a storyteller, I love seeing the adventures books can take young readers on.
A little piece wonders if he belongs to one of the bigger pieces. His adventure of self-discovery leads him to the island of Wham! With abstract ideas and characters like one-who- runs, strong-one, and swimming-one, children usually identify with the characters, especially Pezzettino being little. I often hear children “playing” this story during recess after I read it to my class.
A classic fable about the search for identity, from Caldecott Honor winning picture book creator Leo Lionni.
Pezzettino lives in a world in which everyone is big and does daring and wonderful things. But he is small, just a “little piece,” which is the meaning of pezzettino in Italian. “I must be a piece of somebody. I must belong to someone else,” he thinks. How Pezzettino learns that he belongs to no one but himself is the joyous and satisfying conclusion to this beautiful mosaic style picture book.
