By Pieter Aspe

ISBN-10: 9022317293

ISBN-13: 9789022317297

Hasselt. In het water van de Kom aan de Kolenkaai, vlak bij een discotheek, steekt het hoofd van het lijk van een jonge guy boven het dunne ijslaagje uit. Een zestienjarige discotheekbezoekster die over de kaaimuur staat te kotsen, doet de lugubere ontdekking. De charmante hoofdinspecteur Lies Rutten en Rudi Nelissen, een collega met wie ze bijzonder goed kan opschieten, gaan op onderzoek uit. Eerst begeven ze zich naar de provinciale bibliotheek van Hasselt, wish op het lichaam van het slachtoffer werd een lidkaart van de bibliotheek gevonden, de enige verwijzing naar zijn mogelijke identiteit. Onvermoede zaken komen aan het licht. In het culturele en zakelijke leven van Hasselt speelt zich meer af dan een onschuldige Limburger zou kunnen vermoeden… En naar goede aspeaanse gewoonte hebben de speurders zelf ook geen onberispelijke levenswandel en durven ze het onderzoek wel eens een zetje geven.

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Indicative of this indigenous, even parochial phase of production, was the earliest Baker, Berman and Gilling collaboration, No Trace, which impishly parodies Hammer’s adaptation of the radio series Dr Morelle. The film’s conceit revolves around Scotland Yard’s invitation to a famous crime novelist to solve a murder he has himself committed. His predilection for psychological deduction is found wanting. His secretary, patently a substitute for Morelle’s long-suffering secretary-cum-undercover sleuth, Miss Frayle, remembers a similar plot from the women’s magazine Peg’s Paper and exposes him as the murderer.

It therefore left the road fairly clear for enterprising film companies, but they had to conform to the demands of the new system. The TV/Film: economics, aesthetics and regulation Commercial television’s preference for filmed product was pragmatic – “celluloid film, can sell anywhere in the world, every television station … has facilities for transmitting film”. 64 Even though the cost of film stock was high, this expense could be recouped by wide sales. 65 Even after the arrival of video taping facilities in the late 1950s, there was still a preference for film.

17 producers – they flourished not specifically because of their creative talents but because they understood the primacy of costing. 34 Occasionally, to save studio space for other productions, second features were made on location and this practice increased in the 1950s when equipment became more lightweight and therefore portable 35 and studio space was increasingly given over to TV/Film production. Location shooting was characteristically cheeseparing, often using whatever catering, accommodation and transportation was to hand.

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De Japanse tuin by Pieter Aspe


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Download e-book for iPad: De Japanse tuin by Pieter Aspe
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