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U ovom diplomskom radu dano je rješenje za proširenje pločastog mosta preko potoka Koruška u Križevcima. Rad se sastoji od tehničkog opisa, računske analize te dispozicije mosta, nacrta i troškovnika. U tehničkom opisu opisano je rješenje proširenja mosta, od pripremnih radova, armirano - betonskih, postupak ugradnje cijevnih mikropilota, rješenje odvodnje s mosta, sve do završih radova. Prethodno proračunu provedeni su geotehnički istražni radovi na temelju kojih su usvojeni parametri tla. U računskoj analizi izvršen je proračun mosta te upornjaka mosta. Provedena je kontrola naprezanja u tlu, na prevrtanje te klizanje upornjaka. Proračunom nosivosti i slijeganja izračunato je slijeganje nakon ugradnje cijevnih mikropilota ispod upornjaka. This diploma work gives a solution for the expansion of the slab bridge over the Koruška stream in Križevci. The work consists of a technical description, computational analysis and disposition of the bridge, drawings and cost estimates. The technical description describes the solution for expansion of the bridge, from the preparatory works, reinforced concrete work, the procedure for installing pipe micropiles, the solution for drainage from the bridge and the finished works. Prior to the calculation, geotechnical investigation works were carried out on the basis of which the soil parameters were adopted. In the computational analysis, the calculation of the bridge and bridge abutments was performed. There are calculations of control of stress in the ground, overturning and sliding of abutments. The settlement was calculated after the installation of pipe micropiles under the abutments.

This article uses The Bridge (FX, 2013–2014), an adaptation of the Danish-Swedish series Broen/Bron (SVT1/DR1, 2011-), to explore the ways in which the brand identities of channels shape the adaptation process for scripted television formats. By situating The Bridge in the broader context of FX’s effort to maintain a coherent brand identity, the author argues that producers were not attempting to repurpose Broen/Bron’s narrative for the American audience. Rather, the network wanted to provide its traditionally young and masculine audience with another ‘muscular’ crime series while appealing to additional demographics in the hopes of expanding the channel’s overall viewership.

This article uses The Bridge (FX, 2013–2014), an adaptation of the Danish-Swedish series Broen/Bron (SVT1/DR1, 2011-), to explore the ways in which the brand identities of channels shape the adaptation process for scripted television formats. By situating The Bridge in the broader context of FX’s effort to maintain a coherent brand identity, the author argues that producers were not attempting to repurpose Broen/Bron’s narrative for the American audience. Rather, the network wanted to provide its traditionally young and masculine audience with another ‘muscular’ crime series while appealing to additional demographics in the hopes of expanding the channel’s overall viewership.

The global popularity of Nordic Noir, such as the Danish/Swedish production Broen, The Danish production Forbrydelsen, its U.S. and U.K. remakes, the Danish/Swedish production The Millennium Trilogy seems to depend on its insistent interest in a set of maladjusted female detectives. The by now seven seasons of the U.S production Homeland have a similar focus. In this essay, we argue that the struggle these female protagonists endure between extreme potency on the one hand and shameful psychic problems on the other is linked to how these female detectives represent the female position in film in general. Turning to traditional and ongoing discussions in feminist film theory, and combining queer studies and sociological and psychoanalytic perspectives with recognition theory (Felski/Coplan), we ask how we as spectators relate to these women in terms of recognition. In line with that, we ask whether these female detectives should be considered feminist icons who challenge traditional gendered poses on film, or whether, due to their dysfunctionalities, they came to represent some kind of otherness that we sympathize with but also fail to identify with.

PREPRINT, to be published as: Steiner, Tobias (2019). “Bron/Broen, the Pilot as Space between Cultures, and (re)negotiations of Nordic Noir”. In: The Scandinavian Invasion: The Nordic Noir Phenomenon and Beyond. ed. / Richard McCulloch; William Proctor. Peter Lang, (forthcoming). ------------------------------------------------------- Nordic Noir has, since the early-2000s, evolved into a globally-popular genre that now easily transcends media-specific boundaries. Television has always been at the forefront of that development: Scandinavian TV productions either turned literary successes such as the Henning Mankell novel universe of Wallander into distinct and easily-recognizable television scripts, or developed independent shows such as Forbrydelsen (DR, 2007-12), which, with foreign adaptations such as The Killing (US) (AMC/Netflix, 2011-14) – themselves grew into international format successes. The most recent wave of Nordic Noirs – including blockbuster shows like Bron/Broen [The Bridge] (DK/SWE, 2011-), Dicte (DK, 2012-), Blå ögon [Blue Eyes] (SWE, 2014), Arvingerne [The Legacy] (DK, 2014-), Frikjent [Acquitted] (NOR, 2015-), Herrens veje [Rides upon the Storm] (DK, in development) or Kongen af Danmark [The King] (DK, in development, 2017-) – continues to employ a particular Nordic Noir template. But while doing so, many of these shows also simultaneously transform Nordic Noir through processes of remaking and adaptation that become evident in examples such as Gomorrah (ITA, 2014-) and Les Témoins [Witnesses] (FR, 2015-), within correspondingly-changing generic, narrative, and locational contexts such as ‘Italian’ or ‘French Noir’. This most recent wave thus both affirms and dissolves the specificity of Nordic Noir as a genre.This chapter is particularly interested in the status that Nordic Noir as a genre has as a source for formatting within television, and the specific (re)negotiations that take place when Nordic Noir is transferred to different cultural settings. Following a brief introductory framing of Nordic Noir and its role in larger processes of the global format trade, I will use the analytic perspective of Performance Studies which, as I argue, allows for a more nuanced view on the workings behind the circulation of Nordic Noir formats in the global television business. In particular, I will employ Navarro’s understanding of format adaptation as processual ‘space between cultures’ (2012), and try to identify the onsets of this liminal space in the specific setting of the pilot. It is exactly here, I argue, where adaptation processes first become visible – processes that take a known template and rework it via narrative modulation into transcultural TV remakes.Subsequently, I will illustrate this perspective via the example of Bron/Broen, one of the recent Nordic Noir television series that has itself become a format – travelling on a global scale and thus renegotiating the meaning of Nordic Noir in a variety of cultural settings. This will be done via a comparative analysis of Bron/Broen’s pilot and two of its international iterations – The Bridge (US), and The Tunnel (FR/UK).

Denna studie är en kvalitativ filmanalys av den populära tv-serien Bron, med fokus på huvudkaraktären Saga Norén. Studien utgår från teorier kring den manliga och kvinnliga blicken. Uppsatsens syfte är att belysa ämnet kring hur en kvinna förväntas uppträda utifrån de rådande normerna, men också hur hon uppfattas av andra. Uppbyggnaden av genus- och könsmaktsordning är ett ständigt relevant forskningsämne, där mediernas kraft att påverka publiken spelar en viktig roll. Studien är baserad på könsteorier som relaterar till stereotyper, såväl som den manliga blicken. Till studiens analysdel skapades ett analysverktyg baserat på Selby och Cowderys trestegsmodell och mise-en-scén. De scener som valdes ut för analysen sorterades i fyra olika kategorier baserat på återkommande mönster. Varje kategori sammanfattades i en kort sektion, som samtliga diskuteras i det sista avsnittet. Resultatet av studien visar att Saga Norén avviker från hur en stereotyp kvinnlig karaktär förväntas uppträda. Hennes sätt att framträda, och det avvikande beteendemönstret bidrar också till att hon inte upplevs att synas i bild för att behaga någon. This study is a qualitative film analysis focusing on the main character Saga Norén in the popular tv series Bron, based on the male and female gaze. The essay highlights the topic of how a woman is expected to behave based on the prevailing gender roles, but also how she is perceived by others. The construction of gender and gender roles is a constantly relevant research topic, where the media's power to influence the audience plays an important role. The study is based on gender theories that relate to stereotypes, as well as the male gaze. For the analysis part of the study, an analysis tool was created based on Selby and Cowdery's three-stage model and mise-en-scène, using these theories as a foundation. The scenes selected for the analysis were sorted into four various categories based on recurring patterns. Each category was summarized in a short section, to be discussed in the final section. The result of the study shows that Saga Norén departs from how the stereotype female character is expected to behave. Her way of appearing, and the deviant behavior pattern also contributes to her not being perceived to exist in a position to please.

Globalization has transformed economic, political and social structures, but it also reshaped our perceptions of the world. These transformations influenced media narrative not only as products of big multinational corporates, but also, as stories. This paper, motivated by the success of the Nordic Noir police drama, Bron/ Broen and its adaptation by the US. channel Fox, explores how transnationalism permeates TV narratives generating new narrative worlds. Moreover, the work goes a step further examining how these narratives reimagine the transnational lifestyle and how this contributes to their success internationally. What happens when TV stories cross borders? And in what ways does transnationalism become an internal element of these narrative mobilities? But also, how is transnationalism narrative-generated, too?, Journal of Science and Technology of the Arts, v. 9 n. 2 (2017): Narrative and Audiovisual Creation

521 p., La presente investigación gira en torno al impacto del Post 11S en las ficciones enmarcadas en la Tercera Edad Dorada de la televisión estadounidense, con especial atención al caso de Perdidos (Lost, ABC, 2004-2010). El estudio tiene dos grandes partes. Por un lado, un acercamiento a la producción y audiencia de la serie a través de un estudio documental, deteniéndonos en su narración transmedia y el juego entre creadores y los llamados prosumidores. Por otro, a través del Análisis de Contenido, se detectan mensajes que, de forma explícita o latente, hacen referencias a valores o ideas sociopolíticas. Principalmente a aquellas relacionadas con las consecuencias de los atentados del 11S en torno a dos dimensiones: la Cultura del Miedo y el Conservadurismo. A partir de aquí, el estudio se amplía a Breaking Bad (AMC, 2008-2013), The Walking Dead (AMC, 2010 ) y a otras 33 producciones contemporáneas para detectar patrones y rupturas. Todo ello bajo el amparo de tres paraguas teóricos fundamentales para comprender estos productos culturales como son los Estudios Culturales, la Economía Política de la Comunicación y la Cultura y la Teoría Crítica Feminista., The current investigation resolves around the Post 9/11 attacks on the fictions framed in the American Television's Third Golden Age, with special attention to Lost (ABC, 2004-2010). This research comprises two parts. On the one hand, an approach to the Lost production and audience, though a desk study. Special emphasis is being placed on transmedia storytelling and the game between the creative team and the so-called prosumers. On the other hand, using Content Analysis, explicit or latent messages referring to sociopolitical ideas or values are detected. Primarily this involves those that are related to the consequences of Post 9/11 attacks: The Culture of Fear and the Conservatism. Beyond that, this survey takes a closer look to Breaking Bad (AMC, 2008-2013), The Walking Dead (AMC, 2010 ) and another 33 contemporary productions in order to detect possible patterns or breaking points. All of this is analyzed under three theories that are essential in understanding the cultural products: Cultural Studies; Political Economy of Communication and Culture and the Feminist Theories.

Approximately thirty-five years after he first read Hart Crane's work, African American science fiction writer Samuel R. Delany wrote a story in which he described a fictitious encounter between his father and the poet, entitled _Atlantis: Model 1924_. The following article offers a detailed study of Crane's presence in Delany's novella. I argue that Delany seeks to mimic Crane's intention to present "a synthesis of America" in his collection of poems titled _The Bridge_ (1930), a sequence that attempted to bridge between a wide variety of cultures and historical periods (qtd. in Edelman 179). Delany adds to his predecessor's audacious venture: he supplements it with fragments of African American history and develops a chain of literary connections revolving around Hart Crane. The first part of my paper explores the bridges between African American and white American culture that are established in the narrative. In the second and final part, I explore how Delany incorporates his predecessor's source materialand poems, as well as other tributes to Crane, into his novella. As its title indicates, _Atlantis: Model 1924_ evinces its creator's views on questions of (poetic) origins and originality.

The international success of crime stories from the Nordic countries has made its transition from the literature market to television. In the United Kingdom, these programmes have received many viewers, and much press attention. This thesis will look at ratings leader The Bridge, to look into the reasons why a programme in Danish and Swedish has managed to attract almost two million viewers weekly in a television market usually resistant to non-English language programmes. Using a combination of a close textual analysis of The Bridge, along with qualitative respondent interviews with audiences members, this thesis has found that perceived realism, strong characterisation, and realistic female characters, are what the audience enjoy about The Bridge. The programme engages with production techniques which the audience are very familiar with, meaning that while the language the characters speak is foreign, the way the narrative, and action is communicated is not. The findings bring new discussions about Nordic Noir, where previous criticism has centred on the scenery, social discourses and the exoticism of the Danish and Swedish languages as explanations for the British popularity.

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