Abstract
The authors analyse locations in The Killing and show how these demonstrate the DR way of producing public service high quality crime drama, sometimes referred to as the Danish model. They focus on how locations are used to create particular dramaturgic concepts and structures, and, furthermore, how the sites of production, the different DR production dogmas and the public service drama mandate influence the way in which locations and places are negotiated and reflected in the productions. The authors develop the concept of Nordic Noir further and reflect its different stylistic, emotional, cultural, historical, geographical and political aspects. Finally, they elaborate the melancholic mood in The Killing and the role of music in this regard.
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