German Crime Dramas from Network Television to Netflix by Sunka Simon
Sunka Simon's book German Crime Dramas from Network Television to Netflix presents a thorough examination of the evolution of German crime dramas, particularly in the context of their reception in the United States. The book begins with a brief discussion of Deutschland 83–89, the first German series aired on a US network, and uses this as a springboard to explore the growing interest in German series in recent years, especially through platforms like Netflix. Simon's perspective as a "German-American academic viewer" (21) informs her analysis, as Netflix has become a central access point for German series in the United States.
The primary aim of the book is not to provide a grand narrative of postwar German television history but to analyze how specific crime dramas construct, represent, and reflect their situatedness during different eras—network, cable and satellite, and streaming. Simon emphasizes the importance of understanding the confluence of regional, national, and global intertextual and paratextual concepts, and how these elements manifest in the formal language of both genre and medium. The book also posits the existence of continuities between the network and Netflix eras, particularly in the crime genre, and discusses the localization, nationality, and transnationality of German crime dramas.
The methodology employed in the book focuses heavily on textual analysis, treating individual television series as significant media texts rather than considering the broader context of their production and reception. While this approach allows for detailed examinations of specific series, it also limits the analysis by not fully addressing the economic and industrial factors that shape the German television landscape. A stronger perspective from media industry studies would have been fruitful in understanding the complexities of the German TV market, [End Page 374] including the roles of various stakeholders, production practices, and the impact of streaming platforms on content creation and distribution.
The structure of the book is divided into two main parts: the first focuses on network television, while the second examines Netflix in Germany. In the first part, Simon delves into the iconic crime series Tatort, providing a general description of the format and analyzing individual episodes specifically set in Hamburg, Berlin, Dresden, and Leipzig. Simon argues that Tatort is a particularly fruitful example due to its heterogeneity and because it is the "ARD network's flagship series […], whose big tent concept is closely interwoven with the federal structure of its public network" (5). This series serves as a critical case study, as it has been a staple of German television since its inception in 1970. Simon contends that Tatort's "dialogue with the news, and its drive for sustained social relevancy, has resulted in a series of formal experiments and adjustments that have built an archive of medium-reflexive textuality" (21).
The second part shifts focus to streaming platforms, particularly analyzing "the first German crime dramas on Netflix" (312). Notably, Simon examines three series: Dark, Dogs of Berlin, and Perfume, the latter being a co-production with ZDFneo. Simon highlights the polysemy, genre hybridity, and postmodern reflexivity present in these series, which she argues have roots in earlier German television productions, including Tatort. This continuity is particularly evident in Dogs of Berlin, which Simon describes as an "unofficial adaptation of Tatort" (302).
While Simon's focus on the popular public broadcasting series Tatort is commendable, it also leads to the exclusion of other significant German crime dramas. For instance, series like Im Angesicht des Verbrechens (In the Face of Crime) and KDD—Kriminaldauerdienst (KDD—Berlin Crime Squad) are notable omissions, as they introduced new narrative styles to the German crime genre. Additionally, the migrant gangster drama 4 Blocks, which has influenced the landscape of German crime dramas, is also overlooked. With the focus on Tatort, the book generally perpetuates a bias in the research on contemporary German television series and films, as Tatort is already examined much more frequently than other productions in academia in and beyond Germany.
The selective focus on Dark, Perfume, and Dogs of Berlin in the book's second part leads to an overestimation of Netflix's role in the evolution of German crime dramas and a neglect of other important players in the German TV market. The overestimation also comes to light when Simon refers to Babylon Berlin as a Netflix co-production, despite Netflix only being a licensee for its US distribution.
One of the book's strengths lies in its nuanced analysis of gender representation within the analyzed series. Simon consistently addresses problematic gender portrayals as well as gender hierarchies in the production side of German crime dramas. This critical lens adds depth to her examination of Netflix productions, providing a more ambivalent assessment of their contributions to the genre. Notably, it is commendable that the book also addresses the problematic aspects of Netflix, particularly regarding partnerships between this transnational platform from the United States and public broadcasters from Germany. [End Page 375]
However, the book is not without its shortcomings. There are moments where the author risks over-interpretation, attributing excessive meaning and complexity to certain series. For example, the interpretation of Dark as a commentary on Germany's reckoning with its Holocaust past is debatable. While such thematic explorations can yield original insights, they may also lead to conclusions that stray from the series' intended narrative. Furthermore, there are minor inaccuracies throughout the text, such as describing ZDFneo as a "domestic streaming platform" (258), when it is also a linear television channel. This kind of imprecision detracts from the overall rigour of the analysis.
In conclusion, Simon's book offers original and in-depth analyses of individual series and episodes in German TV fiction, effectively contextualizing them within the broader landscape of German literature and culture. While the heavy reliance on textual analysis and the lack of a more robust consideration of the media industry's dynamics are regrettable, the book remains a valuable contribution to the field. It provides insightful perspectives on the evolution of German crime dramas and their cultural significance, making it a worthwhile read for anyone interested in the intersection of media studies and German studies. Simon's work invites further exploration and discussion, and it certainly enriches our understanding of contemporary TV series from Germany.
