The Crime Scene: Introduction (03:40)
Crime fiction is also known as hard-boiled or thrillers. Edgar Allen Poe wrote the first novel with "The Murders in the Rue Morgue." The setting defines an outlook on society or political vision— Elizabeth George uses two types of landscapes: of place and of character. (Credits)
Olivier Marchal calls the setting another character in his book. L.A. Confidential, Sherlock, and N.Y.P.D. Blue all focus on a particular city to create setting and mood. Authors, producers, and game developers discuss what drew them to use a particular city as a landscape.
Landscape: Los Angeles (02:55)
Michael Connelly's protagonists may change in between books, but he will always use Los Angeles as his setting because of its tragic sadness. Michael Mann describes how he imagined the city was a three dimensional maze in the movie "Thief."
Landscape: Soul of Crime Fiction (03:05)
Settings create atmosphere and give depth to a video game. “Heavy Rain” developer David Cage visited the home of a working class family whose daughter had just died— he incorporated the loss into his landscape.
Landscape: Washington, DC (05:23)
Today's crime fiction is often set on the East Coast rather than pre-war Los Angeles or San Francisco. George Pelecanos' literary work is set in his hometown and chronicles working class heroes. See an excerpt from “Hell to Pay.”
Landscapes: Western Europe (04:10)
Nele Neuhaus visits the locations where she will stage a murder scene to provide authenticity— she has a unique perspective on police investigations having known several murder victims. Jo Nesbo explains the more peaceful the location, Oslo for instance, the easier to stage a murder. Hear an excerpt from "Snow White Must Die."
Global Locations (01:23)
Anne Landois believes crime fiction is a key to understanding chaos— Pelecanos attempts to explore the lives of people. Leonardo Oyola feels a responsibility to incorporate the reality of Argentina and the neighborhood he grew up in into his writing.
Landscape: India (06:41)
"Gangs of Wasseypur" is about the city as well as crime and politics in India. Satyajit Ray wrote crime fiction and directed many movies. Anurag Kashyap has directed numerous films— see excerpts from "Bombay Velvet" and "Ugly."
Location: South Korea (02:14)
See an excerpt of"The Girl With the Dragon Tattoo." Hong-Jin Na tries to incorporate the raw violence of Japanese films of the late 1970s into his movies. During "The Murderer," he wanted to create a pessimistic film; know he believes that society will not change, and he wants to console those who are attacked.
Caryl Ferey's Motivation (02:40)
Ferey releases the violence inside him through his writing. He became enraged when he learned that Klaus Barbie hunted down Che Guevara in Latin America. While filming "Zulu," Orlando Bloom was excited to play a bad guy.
Caryl Ferey's Influences (02:04)
Ferey travels to find inspirational landscapes and people to write about. He becomes violent towards himself if he goes too long without writing. Hear an excerpt from “Mapuche.”
Evolution of Crime Fiction (01:45)
After the 1960s, crime fiction became society based and political. Authors discuss how politics is similar to crime fiction.
Location: Athens (03:34)
Petros Makaris began his career as a screenwriter and became a crime novelist at age 57. His main character is Athenian police investigator Costas Haritos— the economic crisis in Greece is a common theme in his books. Listen to an excerpt of "Bread, Education, Freedom."
Location: Baltimore, Maryland (05:35)
David Simon aims to use crime fiction to entertain and as a vessel for critiquing society. He describes increasing levels of violence within the country and ponders the role of the drug trade. He assembled novelists to create a multiple point of view story for "The Wire."
Conclusion: The Crime Scene (01:54)
The setting, landscape and crime scene evokes conflict and atmosphere in crime fiction. Pelecanos explains if he knew a solution to crime, he would write a manifesto, not a novel.
Credits: The Crime Scene: Part Two—Anatomy Of Crime Fiction (01:03)
Credits: The Crime Scene: Part Two—Anatomy Of Crime Fiction
For additional digital leasing and purchase options contact a media consultant at 800-257-5126
(press option 3) or firstname.lastname@example.org.