ABSTRACT

This article analyses the Franco-British series The Tunnel (Canal+, 2013–2017), co-produced by Sky Atlantic and StudioCanal, as an iteration of the Swedish-Danish series Bron/Broen/The Bridge (Danmarks Radio, 2011–2018). The author situates Bron within the global television format trade and argues that The Tunnel is best understood as a localised version rather than a remake or an adaptation. With six versions of the original series now available around the world, the author argues that Bron has become such a reproducible global television format because it offers a readymade co-production template in industrial, linguistic and narrative terms through its focus on crimes on and around national borders. The article then explores the specific localisation strategies used in the Franco-British version that employ social problems such as terrorism, human trafficking and immigration to position audiences within national and regional frames. Finally, the article discusses the complexities of situating The Tunnel within a nation-centred approach to French television.

摘要

本文分析了由 Sky Atlantic 和 StudioCanal 联合制作的法英剧集《隧道》 （Canal+，2013-2017），该剧是瑞典-丹麦剧集《Bron/Broen/The Bridge》（丹麦广播电台，2011-2018）的迭代版本。 。作者将《布朗》置于全球电视格式贸易中，并认为《隧道》最好被理解为本地化版本，而不是翻拍或改编。作者认为，原系列的六个版本现已在世界各地推出。之所以成为一种可复制的全球电视格式，是因为它通过关注国界内外的犯罪行为，在工业、语言和叙事方面提供了现成的联合制作模板。然后，本文探讨了法英版本中使用的具体本地化策略，该策略利用恐怖主义、人口贩运和移民等社会问题在国家和地区框架内定位受众。最后，本文讨论了将《隧道》置于以国家为中心的法国电视模式中的复杂性。