By Annika Breinig, with thanks to Daniel Magennis
When watching Polizeiruf 110 today, audiences could easily mix it up with the West German Tatort.
These series are broadcast at the same time and on the same channel. They share similar approaches to narrative structure and production, and concentrate on the same themes and motives. There are few signs indicating that this show is the only survivor of German Democratic Republic television, with beloved children’s program Sandmännchen another example. Although at the beginning the series was meant to be a GDR equivalent of the West German Tatort, it distinguished itself from its model in many ways, not the least of which was its treatment of political issues. Continue reading
The iconic Série Noire, created in Paris in the summer of 1945, by surrealist Marcel Duhamel in order to publish American hardboiled authors, celebrates this year its 70th Birthday. This is an occasion to look at the influence it had abroad, and beyond America, where it helped defining the noir genre. Continue reading
One of the most iconic of German Crime Fiction series is Goldmann Taschen-Krimis. It was created as a pocketbooks series in 1952. In this format, together with new titles it republished many books, which had previously been published by Goldmann before the War, such as Christie’s Das Geiheimnis von Sittaford. The Goldmann pocket books used to cost less than 2 Deutsche Mark (1,90) until 1960. The price was then set at 2 DM Continue reading
Leipzig publisher Wilhelm Goldmann started in 1935 the series “Goldmanns Roman-Bibliothek”. Agatha Christie was published there from 1935 : Nikotin (1935), Ein Schritt ins Leere (1935). More than its more ancient competitor the Gelbe Reihe (Ullstein), this series shows the increasing importance of translations, alongside German original editions. Going hand in hand with this process of internationalisation, the series shows a progressive focalisation on Crime Fiction, and a tendency towards a replacement of adventure novels with Crime novels.
By Annika Breinig
When asking Germans about their favourite television crime series, the answer will most likely be “Tatort, natürlich”. Every Sunday evening up to 12 million Germans (almost 14% of population) are watching Tatort at home, with friends or in bars, where the TV usually is used to show football matches. In a country excessively rich in crime fiction, this consensus seems surprising. Explaining to people from outside of Germany what makes Tatort so unique and favourable to the audience is difficult, since the series has a long tradition and a cult status, which even fans are not able to reconstruct.
The first Tatort “Taxi nach Leipzig” aired in 1970. Down to the present day, more than 900 episodes of the series and its East German equivalent Polizeiruf 110, have been produced and broadcasted in Germany, Austria and Switzerland Continue reading
By Annika Breinig
Germany’s television programme is overwhelmingly saturated with crime series. From the afternoon till the late night hours, a lavish bouquet of criminal stories is offered to the audience. Obviously, there are crime series from the United States, such as CSI or Navy CIS, running at prime-time and enjoying a broad fan-base. Further there are European productions, such as Sherlock from the UK, the Swedish Wallander or The Killing from Denmark, which attract a solid audience. And last but not least, there are numerous domestic productions, which range between high quality thrillers and trivial every-day crime stories. Regarding those German productions, some recent trends emerge Continue reading