Advertisement

Local, National, Transnational

Y Gwyll/Hinterland as Crime of/for All Places
  • Elke Weissmann
Chapter
Part of the Palgrave European Film and Media Studies book series (PEFMS)

Abstract

The term ‘transnational’ has remained underdefined in globalisation and media studies. However, its openness allows us to investigate the multiple allegiances of television content to the local, the national and the transnational. Drawing on archival material as well as textual analysis, the chapter examines Y Gwyll/Hinterland (S4C, BBC, 2013–) which was produced both for the specific local audience of the Welsh-speaking minority in Wales, as well as British and European audiences. The chapter argues that its specific locality is an attraction that translates into the different reception contexts, despite significant disparities in how this locale is imagined.

References

  1. Agger, Gunhild. 2013. The Killing: Urban Topographies of a Crime. The Journal of Popular Television 1 (2): 235–241.CrossRefGoogle Scholar
  2. Anderson, Benedict. 2006. Imagined Communities: Reflections on the Origins and Spread of Nationalism. London and New York: Verso.Google Scholar
  3. Andrews, David. 1996. Sport and the Masculine Hegemony of the Modern Nation: Welsh Rugby, Culture and Society, 1890–1914. In Making Men. Rugby and Masculine Identity, ed. John Nauright and Timothy J.L. Chandler, 50–69. Abingdon and New York: Routledge.Google Scholar
  4. Andrews, Hannah. 2016. BBC Four Biopics: Lessons in Trashy Respectability. Journal of British Cinema and Television 13 (3): 409–429.CrossRefGoogle Scholar
  5. Andrews, Leighton. 2006. The National Assembly for Wales and Broadcast Policy, 1999–2003. Media, Culture and Society 28 (2): 191–210.CrossRefGoogle Scholar
  6. ARD. n.d. Inspector Mathias—Mord in Wales. Das Erste. http://www.daserste.de/unterhaltung/film/inspector-mathias/index.html Accessed 16 Aug 2017.
  7. BARB. 2016. Weekly Top Ten Programmes, November 2016. Broadcasters Audience Research Board. http://www.barb.co.uk/viewing-data/weekly-top-10/. Accessed 16 Aug 2017
  8. ———. 2017. Weekly Top Ten Programmes, May 2017. Broadcasters Audience Research Board. http://www.barb.co.uk/viewing-data/weekly-top-10/. Accessed 16 Aug 2017.
  9. BBC Cymru Wales. 2016. BBC Wales Management Review 2015–2016. Cardiff. http://downloads.bbc.co.uk/mypension/en/bbc_wales_review_web_15_16.pdf. Accessed 11 Aug 2017.
  10. BBC News. 2014. Hinterland Shows Wales Way for More EU Funding. BBC News, July 16. http://www.bbc.co.uk/news/uk-wales-28313857. Accessed 15 Aug 2017.
  11. Bertuch, F.J. 1816. Allgemeine Geographische Ephemeriden. Weimar: Verlag des Landes, Industrie, Comptoirs.Google Scholar
  12. Blandford, Steve, and Stephen Lacey. 2011. Screening Wales. Portrayal, Representation and Identity. Critical Studies in Television 6 (2): 1–12.CrossRefGoogle Scholar
  13. Bourdieu, Pierre. 1993. The Field of Cultural Production. Essays on Art and Literature. Cambridge: Polity Press.Google Scholar
  14. Brunsdon, Charlotte. 1998. Structure of Anxiety: Recent British Crime Fiction. Screen 39 (3): 223–243.CrossRefGoogle Scholar
  15. ———. 2010. Law and Order. London: British Film Institute and Palgrave Macmillan.CrossRefGoogle Scholar
  16. Castelló, Enric, Alexander Dhoest, and Hugh O’Donnell, eds. 2009. The Nation on Screen: Discourses of the National on Global Television. Cambridge: Cambridge Scholar Publishing.Google Scholar
  17. Chalaby, Jean. 2005. From Internationalization to Transnationalization. Global Media and Communication 1 (1): 28–33.CrossRefGoogle Scholar
  18. Crane, Diana. 2002. Culture and Globalization: Theoretical Models and Emerging Trends. In Global Culture, ed. Diana Crane, Nobuko Kawashima, and Kenichi Kawasaki, 1–26. London: Routledge.Google Scholar
  19. Creative Europe Desk UK. 2015. Hinterland/Y Gwyll Series 3. http://www.creativeeuropeuk.eu/funded-projects/hinterlandy-gwyll-series-3. Accessed 15 Aug 2017.
  20. Creeber, Glen. 2004. ‘Hideously White’. British Television, Glocalization, and National Identity. Television and New Media 5 (1): 27–39.CrossRefGoogle Scholar
  21. ———. 2015. Killing Us Softly: Investigating the Aesthetics, Philosophy and Influence of Nordic Noir Television. The Journal of Popular Television 3 (1): 21–35.CrossRefGoogle Scholar
  22. Crisell, Andrew. 1997. An Introductory History of British Broadcasting. London: Routledge.Google Scholar
  23. EACEA. 2014. ‘MEDIA’. EACEA. Education, Audiovisual and Culture Executive Agency. April 28. http://eacea.ec.europa.eu/media/index_en.php. Accessed 15 Aug 2017.
  24. Esser, Andrea. 2002. The Transnationalization of European Television. Journal of European Area Studies 10 (1): 13–29.CrossRefGoogle Scholar
  25. ———. 2007. Audiovisual Content in Europe: Transnationalization and Approximation. Journal of Contemporary European Studies 15 (2): 163–184.CrossRefGoogle Scholar
  26. ———. 2016. Defining the ‘Local’ in Localization or ‘Adapting for Whom?’. In Media Across Borders: Localizing TV, Film and Video Games, ed. Andrea Esser, Miguel Bernal-Merino, and Iain Robert Smith, 19–35. New York: Routledge.CrossRefGoogle Scholar
  27. Esser, Andrea, Pia Majbritt Jensen, Heidi Keinonen, and Anna Maria Lemor. 2016. The Duality of Banal Transnationalism and Banal Nationalism: Television Audiences and the Musical Talent Competition Genre. In New Patterns in Global Television Formats, ed. Karina Aveyard, Pia Majbritt Jensen, and Albert Moran, 297–309. Bristol: Intellect.Google Scholar
  28. Fickers, Andreas, and Catherine Johnson. 2010. Transnational Television History: a Comparative Approach. Media History 16 (1): 1–11.CrossRefGoogle Scholar
  29. Freedman, Des. 2016. Media Policy Norms for a Europe in Crisis. Javnost – The Public 23 (2): 120–134.CrossRefGoogle Scholar
  30. Frost, Caroline. 2014. ‘Hinterland’ Co-Creator Ed Thomas Explains Why He Wanted Wales to Have Its Own Detective. Huffington Post. May 28. http://www.huffingtonpost.co.uk/2014/05/27/hinterland-richard-harrington-welsh-crime-drama_n_5398091.html. Accessed 15 Aug.
  31. Georgiou, Myria. 2013. Seeking Ontological Security Beyond the Nation: The Role of Transnational Television. Television & New Media 14 (4): 304–321.CrossRefGoogle Scholar
  32. Guback, Thomas, and Tapio Varis. 1982. Transnational Communication and Cultural Industries. Paris: United Nations Educational.Google Scholar
  33. Hilmes, Michele. 2003. British Quality, American Chaos: Historical Dualisms and What They Leave Out. The Radio Journal: International Studies in Broadcast and Audio Media 1 (1): 13–27.Google Scholar
  34. ———. 2012. Network Nations. A Transnational History of British and American Broadcasting. New York and Abingdon: Routledge.Google Scholar
  35. Howell, W.J., Jr. 1992. Minority-Language Broadcasting and the Continuation of Celtic Culture in Wales and Ireland. In Ethnic Minority Media. An International Perspective, ed. Stephen Harold Riggins, 217–242. Newbury Park; London; New Delhi: Sage.CrossRefGoogle Scholar
  36. Hupertz, Heike. 2016. TV-Serie ‘Inspector Mathias’: Es trifft immer die Schwachen. Frankfurter Algemeine Zeitung, August 7. http://www.faz.net/aktuell/feuilleton/medien/serie-inspector-mathias-mit-richard-harrington-im-ersten-14373892.html. Accessed 15 Aug 2017
  37. Jensen, Pia Majbritt, Jakob Isak Nielsen, and Anne Marit Waade. 2016. When Public Service Drama Travels: The Internationalization of Danish Television Drama and the Associated production Funding Models. Journal of Popular Television 4 (1): 91–108.CrossRefGoogle Scholar
  38. Johnson, Catherine, and Rob Turnock. 2005. From Start-up to Consolidation: Institutions, Regions and Regulation over the History of ITV. In ITV Cultures. Independent Television over Fifty Years, ed. Catherine Johnson and Rob Turnock, 15–35. Maidenhead: Open University Press.Google Scholar
  39. Kuipers, Giselinde. 2011. Cultural Globalization as the Emergence of a Transnational Cultural Field: Transnational Television and National Media Landscapes in Four European Countries. American Behavioural Scientist 55 (5): 541–557.CrossRefGoogle Scholar
  40. Lady Lever Art Gallery. 2017 Salem. Collections. http://www.liverpoolmuseums.org.uk/ladylever/collections/paintings/gallery4/salem.aspx. Accessed 15 Aug 2017.
  41. McElroy, Ruth. 2013. What Can Wales Learn from Nordic Noir? CSTOnline Blog. November 15. http://cstonline.net/what-can-wales-learn-from-nordic-noir-by-ruth-mcelroy/. Accessed 16 Aug 2017.
  42. ———. 2016. Television Production in Small Nations. Journal of Popular Television 4 (1): 69–73.CrossRefGoogle Scholar
  43. McElroy, Ruth, and Caitriona Noonan. 2016. Television Drama Productions in Small Nations: Mobilities in a Changing Ecology. Journal of Popular Television 4 (1): 109–127.CrossRefGoogle Scholar
  44. Medhurst, Jamie. 2004. Wales Television—Mammon’s Television. ITV in Wales in the 1960s. Media Histories 10 (2): 119–131.CrossRefGoogle Scholar
  45. Media Insider. 2013. Funding Secured for Aberystwyth Drama. Media Insider. January 3. https://www.insidermedia.com/insider/wales/82462-funding-secured-aberystwyth-drama. Accessed 10 Aug 2017.
  46. Office of National Statistics. 2011. 2011 Census. https://www.ons.gov.uk/census/2011census. Accessed 16 Aug 2017.
  47. Raats, Tim, Tom Evens, and Sanne Ruelens. 2016. Challenges for Sustaining Local Audio-visual Ecosystems: Analysis of Financing and Production of Domestic TV Fiction in Small Media Markets. Journal of Popular Television 4 (1): 129–147.CrossRefGoogle Scholar
  48. Redvall, Eva Novrup. 2016. Midsomer Murders in Copenhagen: The Transnational Production of Nordic Noir-influenced UK Television Drama. New Review of Film and Television Studies 14 (3): 345–363.CrossRefGoogle Scholar
  49. Roberts, Les. 2016. Landscapes in the Frame: Exploring the Hinterlands of the British Procedural Drama. New Review of Film and Television Studies 14 (3): 364–385.CrossRefGoogle Scholar
  50. Robertson, Roland. 1995. Glocalization: Time-Space and Homogeneity-Heterogeneity. In Global Modernities, ed. Mike Featherstone, Scott Lash, and Roland Robertson, 25–44. London; Thousand Oakes; New Delhi: Sage.CrossRefGoogle Scholar
  51. Robins, Kevin, and Asu Aksoy. 2005. Whoever Looks Away Finds. Transnational Viewing and Knowledge-Experience. In Transnational Television Worldwide: Towards a New Media Order, ed. Jean Chalaby, 14–42. London: I.B. Tauris.Google Scholar
  52. Russo, Paolo, and Lindsay Steenberg. 2016. Imagining the Post-forensic Landscape: the Crime Drama on Transnational Television. New Review of Film and Television Studies 14 (3): 299–303.CrossRefGoogle Scholar
  53. S4C. 2011. Annual Report & Statement of Accounts 2011. http://www.s4c.cymru/abouts4c/annualreport/acrobats/s4c-annual-report-2011.pdf. Accessed 16 Aug 2017.
  54. ———. 2017. Annual Report & Statement of Accounts for the 12 Month Period to 31 March 2017. http://www.s4c.cymru/abouts4c/annualreport/acrobats/s4c-annual-report-2017.pdf. Accessed 16 Aug 2017.
  55. Staude, Sylvia. 2016. Die Sonne scheint hier nicht. Frankfurter Rundschau. August 1. http://www.fr.de/kultur/netz-tv-kritik-medien/tv-kritik/inspector-mathias-mord-in-wales-ard-die-sonne-scheint-hier-nicht-a-328109. Accessed 15 Aug 2017.
  56. Stougaard-Nielsen, Jakob. 2016. Nordic Noir in the UK: the Allure of Accessible Difference. Journal of Aesthetics & Culture 8 (1): 32704.CrossRefGoogle Scholar
  57. Swann, Leonie. 2007. Glennkill. Munich: Goldman.Google Scholar
  58. TKT. 2015. Interview: Ed Thomas, Hinterland/Y Gwyll. The Killing Times. September 17. https://thekillingtimestv.wordpress.com/tag/ed-thomas/. Accessed 16 Aug 2017.
  59. Turnbull, Sue. 2014. The TV Crime Drama. Edinburgh: Edinburgh University Press.Google Scholar
  60. UNESCO. 1974. The Impact of Multinational Corporations on Development and International Relations. New York: United Nations.Google Scholar
  61. Ward, Sam. 2013. Finding ‘Public Purpose’ in ‘Subtitled Oddities’: Framing BBC Four’s Danish Imports as Public Service Broadcasting. Journal of Popular Television 1 (2): 251–257.CrossRefGoogle Scholar
  62. Weissmann, Elke. 2012. Transnational Television Drama: Special Relations and Mutual Influences Between the US and the UK. Abingdon and New York: Palgrave Macmillan.CrossRefGoogle Scholar
  63. Williams, Kathryn. 2016. Will Hinterland Come to an End after Series Three? Wales Online. July 27. http://www.walesonline.co.uk/lifestyle/tv/hinterland-come-end-after-series-11670040. Accessed 16 Aug 2017.

Copyright information

© The Author(s) 2018

Authors and Affiliations

  1. 1.Edge Hill UniversityOrmskirkUK

Personalised recommendations