{"id":{"repo_id":"auckland-ms","oai_identifier":"oai:researchspace.auckland.ac.nz:2292/73214"},"canonical_url":"https://search.dev.ndltd.org/etd/auckland-ms/oai:researchspace.auckland.ac.nz:2292/73214","repository":{"repo_id":"auckland-ms","name":"University of Auckland","base_url":"https://researchspace.auckland.ac.nz/server/oai/request"},"display":{"title":"Transnational Crime Scenes and Travelling Detectives: Space and Movement in Crime Drama Series 2017-2023","abstract":"This thesis examines changes in the constructions of space and movement in transnational crime drama series between 2017 and 2023. Focused on the timeframe between Brexit and the Covid pandemic, it argues that a significant shift within the crime genre is well underway. Following European integration, the formerly national genre had become increasingly trans-national and hybrid, emphasising seamless movement and invisible borders within Europe. In contrast, series from the later 2010s and early 2020s show a renewed focus on borders as obstacles, and on restricted (particularly police) character movement. This study employs a transdisciplinary framework that draws on television and film studies, literary and cultural theory, as well as transnationalism and border studies to trace these developments in a genre that is both widely popular and closely follows societal discourse. It analyses six series—La Zona, Undercover, Giri/Haji, Vigil, Kohrra and The Gone—to highlight specific shifts in the depictions of space and movement in crime drama television. The spatial and temporal reconfiguration of the crime genre during this period is compounded by its extensive hybridisation with other genres in some of the series, namely thriller and (post)apocalyptic narratives; in other cases, it is destabilised from within. The study additionally incorporates an analysis of the series’ transnational distribution patterns, including their distribution in different languages through dubbing and subtitling. It argues that the televisual crime genre during this time shows a diffusion of character movement, as well as individualised series distribution; an extensive destabilisation of the genre; and a deconstruction of national and genre spaces, particularly crime scenes and borders. Both Brexit and the Covid pandemic were and continue to be influential on TV production, narrative and reception processes in disparate ways. In the context of these and other border-ing discourses, national and genre borders in transnational crime series appear more strictly enforced, and are presented as dangerously porous at the same time. Confronted with multidirectional transnational movement, all six series attempt to return to a distinctly national framework. This return is only partially successful, and the borders of space, time, genre and character categories within them remain unstable.","abstract_html":"This thesis examines changes in the constructions of space and movement in transnational crime drama series between 2017 and 2023. Focused on the timeframe between Brexit and the Covid pandemic, it argues that a significant shift within the crime genre is well underway. Following European integration, the formerly national genre had become increasingly trans-national and hybrid, emphasising seamless movement and invisible borders within Europe. In contrast, series from the later 2010s and early 2020s show a renewed focus on borders as obstacles, and on restricted (particularly police) character movement. This study employs a transdisciplinary framework that draws on television and film studies, literary and cultural theory, as well as transnationalism and border studies to trace these developments in a genre that is both widely popular and closely follows societal discourse. It analyses six series—La Zona, Undercover, Giri/Haji, Vigil, Kohrra and The Gone—to highlight specific shifts in the depictions of space and movement in crime drama television. The spatial and temporal reconfiguration of the crime genre during this period is compounded by its extensive hybridisation with other genres in some of the series, namely thriller and (post)apocalyptic narratives; in other cases, it is destabilised from within. The study additionally incorporates an analysis of the series’ transnational distribution patterns, including their distribution in different languages through dubbing and subtitling. It argues that the televisual crime genre during this time shows a diffusion of character movement, as well as individualised series distribution; an extensive destabilisation of the genre; and a deconstruction of national and genre spaces, particularly crime scenes and borders. Both Brexit and the Covid pandemic were and continue to be influential on TV production, narrative and reception processes in disparate ways. In the context of these and other border-ing discourses, national and genre borders in transnational crime series appear more strictly enforced, and are presented as dangerously porous at the same time. Confronted with multidirectional transnational movement, all six series attempt to return to a distinctly national framework. This return is only partially successful, and the borders of space, time, genre and character categories within them remain unstable.","abstract_has_math":false,"creators":["Baetz, Josephine Madeleine"],"institution":"ResearchSpace@Auckland","degree_name":"PhD","degree_level":"Doctoral","degree_discipline":"Media, Film and Television","degree_department":null,"school":null,"contributors":[],"advisors":["Zuberi, Nabeel","Carlston, Erin"],"committee_chairs":[],"committee_members":[],"year":2025,"date_issued":"2025","date_published":"2025","updated_at":"2026-07-24T01:04:52Z","subjects":["television","media","transnationalism","borders","crime fiction","crime series","popular culture"],"languages":[],"rights":["Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated."],"rights_urls":["https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm"],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/2292/73214","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Zuberi, Nabeel","Carlston, Erin"]},{"key":"dc:creator","label":"Author","values":["Baetz, Josephine Madeleine"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2025-08-17T20:41:10Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2025-08-17T20:41:10Z"]},{"key":"dc:date.issued","label":"Date","values":["2025"]},{"key":"dc:publisher","label":"Institution","values":["ResearchSpace@Auckland"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Media, Film and Television"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Doctoral"]},{"key":"thesis:degree_name","label":"Degree Name","values":["PhD"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["The University of Auckland"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["television","media","transnationalism","borders","crime fiction","crime series","popular culture"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated."]},{"key":"dc:rights.uri","label":"Rights URI","values":["https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/2292/73214"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis examines changes in the constructions of space and movement in transnational crime drama series between 2017 and 2023. Focused on the timeframe between Brexit and the Covid pandemic, it argues that a significant shift within the crime genre is well underway. Following European integration, the formerly national genre had become increasingly trans-national and hybrid, emphasising seamless movement and invisible borders within Europe. In contrast, series from the later 2010s and early 2020s show a renewed focus on borders as obstacles, and on restricted (particularly police) character movement. This study employs a transdisciplinary framework that draws on television and film studies, literary and cultural theory, as well as transnationalism and border studies to trace these developments in a genre that is both widely popular and closely follows societal discourse. It analyses six series—La Zona, Undercover, Giri/Haji, Vigil, Kohrra and The Gone—to highlight specific shifts in the depictions of space and movement in crime drama television. The spatial and temporal reconfiguration of the crime genre during this period is compounded by its extensive hybridisation with other genres in some of the series, namely thriller and (post)apocalyptic narratives; in other cases, it is destabilised from within. The study additionally incorporates an analysis of the series’ transnational distribution patterns, including their distribution in different languages through dubbing and subtitling. It argues that the televisual crime genre during this time shows a diffusion of character movement, as well as individualised series distribution; an extensive destabilisation of the genre; and a deconstruction of national and genre spaces, particularly crime scenes and borders. Both Brexit and the Covid pandemic were and continue to be influential on TV production, narrative and reception processes in disparate ways. In the context of these and other border-ing discourses, national and genre borders in transnational crime series appear more strictly enforced, and are presented as dangerously porous at the same time. Confronted with multidirectional transnational movement, all six series attempt to return to a distinctly national framework. This return is only partially successful, and the borders of space, time, genre and character categories within them remain unstable."]},{"key":"dc:title","label":"Title","values":["Transnational Crime Scenes and Travelling Detectives: Space and Movement in Crime Drama Series 2017-2023"]}]}],"canonical_facts":{"dc:contributor.advisor":["Zuberi, Nabeel","Carlston, Erin"],"dc:creator":["Baetz, Josephine Madeleine"],"dc:date.accessioned":["2025-08-17T20:41:10Z"],"dc:date.available":["2025-08-17T20:41:10Z"],"dc:date.issued":["2025"],"dc:description.abstract":["This thesis examines changes in the constructions of space and movement in transnational crime drama series between 2017 and 2023. Focused on the timeframe between Brexit and the Covid pandemic, it argues that a significant shift within the crime genre is well underway. Following European integration, the formerly national genre had become increasingly trans-national and hybrid, emphasising seamless movement and invisible borders within Europe. In contrast, series from the later 2010s and early 2020s show a renewed focus on borders as obstacles, and on restricted (particularly police) character movement. This study employs a transdisciplinary framework that draws on television and film studies, literary and cultural theory, as well as transnationalism and border studies to trace these developments in a genre that is both widely popular and closely follows societal discourse. It analyses six series—La Zona, Undercover, Giri/Haji, Vigil, Kohrra and The Gone—to highlight specific shifts in the depictions of space and movement in crime drama television. The spatial and temporal reconfiguration of the crime genre during this period is compounded by its extensive hybridisation with other genres in some of the series, namely thriller and (post)apocalyptic narratives; in other cases, it is destabilised from within. The study additionally incorporates an analysis of the series’ transnational distribution patterns, including their distribution in different languages through dubbing and subtitling. It argues that the televisual crime genre during this time shows a diffusion of character movement, as well as individualised series distribution; an extensive destabilisation of the genre; and a deconstruction of national and genre spaces, particularly crime scenes and borders. Both Brexit and the Covid pandemic were and continue to be influential on TV production, narrative and reception processes in disparate ways. In the context of these and other border-ing discourses, national and genre borders in transnational crime series appear more strictly enforced, and are presented as dangerously porous at the same time. Confronted with multidirectional transnational movement, all six series attempt to return to a distinctly national framework. This return is only partially successful, and the borders of space, time, genre and character categories within them remain unstable."],"dc:identifier.uri":["https://hdl.handle.net/2292/73214"],"dc:publisher":["ResearchSpace@Auckland"],"dc:rights":["Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated."],"dc:rights.uri":["https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm"],"dc:subject":["television","media","transnationalism","borders","crime fiction","crime series","popular culture"],"dc:title":["Transnational Crime Scenes and Travelling Detectives: Space and Movement in Crime Drama Series 2017-2023"],"dc:type":["Thesis"],"thesis:degree_discipline":["Media, Film and Television"],"thesis:degree_level":["Doctoral"],"thesis:degree_name":["PhD"],"thesis:institution_name":["The University of Auckland"]},"updated_at":"2026-07-24T01:04:52Z"}