There is always a lot of series available. We made an offer for the first season of La casa de papel. But there is so much production the truth. They bought it and got the exclusive on the second season. It did happen to us that we released Trapped, which was later a hit on Netflix. There is so much production that there is plenty of material. How to deal with the era of platforms and continue to maintain a different identity and a different hand when it comes to the selected materials? This year we upload it to the platforms, to Flow, and it is the most watched of the year that we provide. Since then we continue to give it and even now it is the one with the highest rating. And it was so successful, and it worked so well, that it became the backbone of the canal. In 2013 we bought the first five seasons of El comisario Montalbano. And today they have created a quality brand, with milestones such as “El comisario Montalbano” or the premiere of “Babylon Berlin”. We realized that it got people hooked to keep watching the channel. The first major and long series that the channel gave was when the channel turned 10 years old in 2011, Lark Rise to Camberfort. Or versions of classic novels made by RAI or Media Z in Italy. In addition to the above, versions of novels made by the BBC, of creations by Charles Dickens or Jane Austen. Little by little: first, as I told you, the miniseries. He was always dedicated to cinema, the same, there were not so many series. We always gave miniseries, but linked to film directors: for example, Berlin Alexanderplatz we gave it complete. How did the channel begin to mutate to its present, where it offers series that do not exist on the platforms thanks to its curatorship? Goodbye, cruel brother, or Dinner for lovers: cinema that was impossible to find. Take Milos Forman’s Polish films, for example. Pasolini’s “the trilogy of life” was seen in its entirety.
It has never been seen without cuts in our country.
Saló, or the 120 days of Sodom, was given for the first time in Argentina on our channel. We started showing classic movies that had been banned. I’m talking about the films by Belmondo, by Alan Delon, by Sophia Loren, which were more successful than what came out of Hollywood. How do you remember those early days of Europe Europe and the beginnings, at a time when the most watched cinema was another? They were going to show mainly films, at that time European cinema was very famous in theaters throughout Latin America and mainly in Argentina ”, says Carlos Posadas, director and programmer of Europa Europa, the chain that educated a generation in a way tremendously powerful and cinephile, far from the instantaneous consumption of the platforms.
By examining both European texts and the ‘European-ness’ of various international dramas, this book ultimately demonstrates that transnationalism is at the very core of TV crime drama in Europe and beyond.The cable offer at that time did not have a specific channel, of European cinema.
The chapters, all written by leading television and crime fiction scholars, provide readings of crime dramas such as the Swedish-Danish The Bridge, the Welsh Hinterland, the Spanish Under Suspicion, the Italian Gomorrah, the German Tatort and the Turkish Cinayet. Protagonizada por: Luca Zingaretti,Cesare Bocci,Peppino Mazzotta. Las pistas le llevan a un sospechoso que supuestamente había muerto. Poco después de asignarle un nuevo caso al comisario Montalbano, asesinan a su modista Elena. 2019 12+ 1h 44 min Películas basadas en libros. This extensive volume explores a wide range of countries, from the US to European countries such as Spain, Italy, the Scandinavian countries, Germany, England and Wales, in order to reveal the very currencies that are at work in the global production and circulation of the TV crime drama. El comisario Montalbano: El otro extremo del hilo. As a genre, the television crime drama has enjoyed a long and successful career, routinely serving as a prism from which to observe the local, national and even transnational issues that are prevalent in society. This book is the first to focus on the role of European television crime drama on the international market.