Introduction: European identity in popular television crime series

References

1. 1992/1993/1994 ( 2015, 2017, 2019, Italy:: Wildside, Sky;).
   [Google Scholar]
2. Appiah, K. A.. ( 2018), The Lies That Bind. Rethinking Identity: Creed, Country, Colour, Class, Culture, New York and London:: Liveright;.
   [Google Scholar]
3. Aranyélet (Golden Life) ( 2015, 2016, 2018, Hungary:: HBO;).
   [Google Scholar]
4. Babylon Berlin ( 2017–present, Germany:: X Films Creative Pool, Beta Film, Sky Germany and Degeto Film;).
   [Google Scholar]
5. Black Earth Rising ( 2018, UK:: Drama Republic, BBC Studios, Eight Rooks Production and Netflix;).
   [Google Scholar]
6. Boltanski, L.. ( 2014), Mysteries & Conspiracies: Detective Stories, Spy Novels and the Making of Modern Societies, Cambridge and Malden:: Polity;.
   [Google Scholar]
7. Bondebjerg, I.. ( 2016;), ‘ Transnational Europe: TV-drama, co-production networks and mediated cultural encounters. ’, Palgrave Communications, 2, pp. 1–13.
   [Google Scholar]
8. Bondebjerg, I.,, Novrup Redvall, E.,, Helles, R.,, Lai, S. S.,, Søndergaard, H., and Astrupgaard, C.. (eds) ( 2017), Transnational European Television Drama: Production, Genres and Audiences, Basingstoke:: Palgrave Macmillan;.
   [Google Scholar]
9. Bouchard, N.. ( 2006;), ‘ Negotiating Italian identities. ’, Annali d’Italianistica, 24, pp. 11–17.
   [Google Scholar]
10. Bron/Broen (The Bridge) ( 2011–18, Denmark and Sweden:: Nimbus Film, Filmlance International, DR1, SVT1;).
    [Google Scholar]
11. Crossing Lines ( 2013–15, France, Germany, Italy and US:: Tandem Communications, Bernero Productions, TF1 productions, Sony Pictures Television Network;).
    [Google Scholar]
12. Delanty, G.. ( 2005;), ‘What does it mean to be a “European”’?. , Innovation: The European Journal of Social Science Research, 18:1, pp. 11–22.
    [Google Scholar]
13. Deutschland 83/86/89 ( 2015, 2018, 2020, Germany and USA:: UFA Fiction;).
    [Google Scholar]
14. Eurocops ( 1988–94, UK, France, Austria, Italy, Spain and Germany:: Channel 4, Antenne 2, ORF, RAI, SRG, Televisión Española, ZDF;).
    [Google Scholar]
15. Fukuyama, F.. ( 2018), Identity: The Demand for Dignity and the Politics of Resentment, New York, NY:: Farrar, Straus and Giroux;.
    [Google Scholar]
16. Hackerville ( 2019, Romania and Germany:: HBO and TNT Serie;).
    [Google Scholar]
17. Hansen, K. F.,, Peacock, S., and Turnbull, S.. (eds) ( 2018), European Television Crime Drama and Beyond, Cham:: Palgrave Macmillan;.
    [Google Scholar]
18. Jullien, F.. ( 2021), There Is No Such Thing as Cultural Identity (trans. P. Rodriguez), Cambridge and Medford:: Polity;.
    [Google Scholar]
19. Kahl, A.. (ed.) ( 2019), Analyzing Affective Societies: Methods and Methodologies, London and New York:: Routledge;.
    [Google Scholar]
20. Killing Eve ( 2018–present, USA:: BBC America;).
    [Google Scholar]
21. Koch, G.. ( 2000), Siegfried Kracauer: An Introduction (trans. J. Gaines), Princeton, NJ:: Princeton University Press;.
    [Google Scholar]
22. Kracauer, S.. ( 1971;), ‘ Der Detektiv-Roman. ’, Schriften 1, Frankfurt a.M.:: Suhrkamp;, pp. 103–204.
    [Google Scholar]
23. Kracauer, S.. ( 1995), The Mass Ornament: Weimar Essays (ed., trans. T. Y. Levin), Cambridge, MA and London:: Harvard University Press;.
    [Google Scholar]
24. La casa de papel (Money Heist) ( 2017–present, Spain:: Atresmedia, Vancouver Media, Antena 3 Televisión, Netflix;).
    [Google Scholar]
25. Lordon, F.. ( 2013), La Société des Affects: Pour un Structuralisme des Passions, Paris:: Éditions du Seuil;.
    [Google Scholar]
26. Lucarelli, S.,, Cerutti, F., and Schmidt, V. A.. ( 2011;), ‘ Preface. ’, in S. Lucarelli,, F. Cerutti, and V. A. Schmidt. (eds), Debating Political Identity and Legitimacy in the European Union, London and New York:: Routledge;, pp. xiv–xvii.
    [Google Scholar]
27. Mittell, J.. ( 2015), Complex TV: The Poetics of Contemporary Television Storytelling, New York, NY:: New York University;.
    [Google Scholar]
28. Nancy, J. L.. ( 2000), Being Singular Plural, Stanford, CA:: Stanford University Press;.
    [Google Scholar]
29. Non uccidere (Thou Shalt Not Kill) ( 2015, 2017, Italy:: FremantleMedia Italia, Rai Fiction;).
    [Google Scholar]
30. Nussbaum, M.. ( 2013), Political Emotions: Why Love Matters for Justice, Cambridge and London:: Harvard University Press;.
    [Google Scholar]
31. Protevi, J.. ( 2009), Political Affect: Connecting the Social and the Somatic, Minneapolis, MS:: University of Minnesota Press;.
    [Google Scholar]
32. Rocco Schiavone ( 2016–present, Italy:: Cross Productions, Rai Fiction;).
    [Google Scholar]
33. Romanzo criminale – La serie ( 2008, 2010, Italy:: Cattleya and Sky Cinema;).
    [Google Scholar]
34. Slaby, J., and von Scheve, C.. (eds) ( 2019), Affective Societies: Key Concepts, London and New York:: Routledge;.
    [Google Scholar]
35. Stråth, B.. ( 2008;), ‘ Belonging and European identity. ’, in G. Delanty,, R. Wodak, and P. Jones. (eds), Identity, Belonging and Migration, Liverpool:: Liverpool University Press;, pp. 21–37.
    [Google Scholar]
36. The Team ( 2015–18, Austria, Belgium, Denmark, Germany and Switzerland:: Network Movie, Lunanime, Superfilm, Nordisk Film Production, C-Films and ZDF;).
    [Google Scholar]
37. Trenz, H.-J.. ( 2016), Narrating European Society, Lanham:: Lexington Books;.
    [Google Scholar]
38. Wetherell, M.. ( 2012), Affect and Emotion: A New Social Science Understanding, London:: Sage;.
    [Google Scholar]
39. Williams, R.. ( 1961), The Long Revolution, Westport, CT:: Greenwood Press;.
    [Google Scholar]
40. Williams, R.. ( 1977), Marxism and Literature, Oxford and London:: Oxford University Press;.
    [Google Scholar]
41. Zasada przyjemnosci (The Pleasure Principle) ( 2019, Poland:: Apple Film Productions;).
    [Google Scholar]