Despite several studies on Tatort (English title: Crime Scene), there are as yet no comprehensive analyses based on the totality of production since 1970. This volume examines the traditional German crime series as (art) work in relation to its serial nature. It combines a history of mentalities argument with television history and practical aspects, and the demands of television regulated by public law with questions about film qualities. The contributions aim for a more accurate reflection on the specific mediality and aesthetic resources of the series.
