... arising as they do from a political will to support the art of film, and from a plethora of c... more ... arising as they do from a political will to support the art of film, and from a plethora of cultural and educational policies, all overseen by ... The Danish Directors 2 and directors, Lars von Trier's Zentropa, with its Film Town and collectivist ethos, being the most obvious example. ...
Page 1. A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture Ib Bondebj... more Page 1. A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture Ib Bondebjerg & Eva Novrup Redvall 2011 Page 2. 2 Table of Contents List of figures ..... 3 ...
Chapter for Miranda Banks, Bridget Conor and Vicki Mayer (eds.): Production Studies, The Sequel! ... more Chapter for Miranda Banks, Bridget Conor and Vicki Mayer (eds.): Production Studies, The Sequel! Book description: Production Studies, The Sequel! is an exciting exploration of the experiences of media workers in local, global, and digital communities—from prop-masters in Germany, Chinese film auteurs, producers of children’s television in Qatar, Italian radio broadcasters, filmmakers in Ethiopia and Nigeria, to seemingly-autonomous Twitterbots. Case studies examine international production cultures across five continents and incorporate a range of media, including film, television, music, social media, promotional media, video games, publishing and public broadcasting. Using the lens of cultural studies to examine media production, Production Studies, The Sequel! takes into account transnational production flows and places production studies in conversation with other major areas of media scholarship including audience studies, media industries, and media history. A follow-up to the successful Production Studies, this collection highlights new and important research in the field, and promises to generate continued discussion about the past, present, and future of production studies.
"""Following the two previous volumes in this series of practitioner i... more """Following the two previous volumes in this series of practitioner interviews with Danish directors, Danish Directors 3 focuses on Danish documentary cinema. Although many of the directors interviewed here have ventured successfully into the terrain of fiction, their main contributions to the thriving post-80s milieu lie in the interconnected areas of documentary film and television. Emphasizing the new documentary cinema, this book features film-makers who belong to the generation born in the 1970s. Many of the interviewees were trained at the National Film School of Denmark’s now legendary Department of Documentary and Television. The term ‘new’ also captures tendencies that cut across the work of the film-makers. For example, for the generation in question, internationalization and the development of a new digital media culture are inevitable aspects of everyday life, and, indeed, of the professional environments in which they operate. A comprehensive overview of documentary directors currently working in Denmark, this is the only book of its kind about this growing area of Danish cinema.""""
Redvall analyses the relationship between different notions of public service broadcasting and id... more Redvall analyses the relationship between different notions of public service broadcasting and ideas of media and screenwriting ethics, using the work of the in-house drama unit (DR Fiction) at the Danish Broadcasting Corporation (DR) as a case study. Since 2003, DR has had certain production ‘dogmas’ for how to develop television drama series. The dogma of ‘double storytelling’ insists on series containing social and ethical themes beside ‘the good story’. What can be considered as a particular institutionalized engagement with ethics, Redvall investigates how it creates a specific framework for thinking about ‘public service storytelling’ and discusses the implications for screenwriting practices when considerations of the ethical implications and impact of stories are an established part of the commissioning process from the earliest stages.
Harriet Bloch is regarded as the first professional female screenwriter in Denmark (Sundholm et a... more Harriet Bloch is regarded as the first professional female screenwriter in Denmark (Sundholm et al. 2012, 405) and as one of the most successful Danish screenwriters to this day (Schröder 2011). She had no formal training in writing, but picked up knowledge of films at the cinema where she could watch up to three films a day (Bloch 1962, n.p.). The idea of writing screenplays of her own came from watching Urban Gad's classic silent film Afgrunden/The Abyss (1910) starring Asta Nielsen. Bloch figured that she would be able to write something of a similar quality, and she thus sent an unsolicited screenplay to the cinema owner and film producer Constantin Philipsen, who had opened Denmark's first cinema, Kosmorama, in 1904. According to Bloch, Philipsen was not interested in her story because he only wanted films that were either really vulgar or really exciting and this was a romantic melodrama (1962, n.p.). However, Nordisk Film took an interest in the story, which became Au...
"""Following the two previous volumes in this series of practitioner i... more """Following the two previous volumes in this series of practitioner interviews with Danish directors, Danish Directors 3 focuses on Danish documentary cinema. Although many of the directors interviewed here have ventured successfully into the terrain of fiction, their main contributions to the thriving post-80s milieu lie in the interconnected areas of documentary film and television. Emphasizing the new documentary cinema, this book features film-makers who belong to the generation born in the 1970s. Many of the interviewees were trained at the National Film School of Denmark’s now legendary Department of Documentary and Television. The term ‘new’ also captures tendencies that cut across the work of the film-makers. For example, for the generation in question, internationalization and the development of a new digital media culture are inevitable aspects of everyday life, and, indeed, of the professional environments in which they operate. A comprehensive overview of documentary directors currently working in Denmark, this is the only book of its kind about this growing area of Danish cinema.""""
This chapter examines the transnational success of drama serials such as Forbrydelsen/The Killing... more This chapter examines the transnational success of drama serials such as Forbrydelsen/The Killing (2007-2012) and Borgen (2010-2013) and the popularity of a special kind of ’Nordic Noir’ crime drama, the Danish television production landscape enjoyed an unprecedented international interest in the early 2010s. While the series found widespread circulation and sparked new discourses on subtitled content that challenges dominant English-speaking fare, the interest in what was perceived as a highly professional public service production culture simultaneously created new possibilities for Danish talent to launch A-list careers on the global television stage. This study further analyses this new circulation of talent, focusing on how the Danish practitioners have experienced the move to the international production landscape, particularly on what they perceive as similarities and differences between Danish and US production cultures. The chapter also explores what can be regarded as the ...
The chapter explores the successful meeting of “mainstream trends” and “masterpiece traditions” i... more The chapter explores the successful meeting of “mainstream trends” and “masterpiece traditions” in the commissioning and production of Downton Abbey (2010–2015), and the way in which this “postheritage drama” marks a significant transatlantic encounter between different broadcasting cultures and storytelling traditions. Drawing on recent research on the special relationship between the United Kingdom and the United States in television drama, the analysis first details how this period drama became a collaboration between the commercial UK broadcaster ITV and the American PBS station WGBH and its Masterpiece series. The chapter then investigates how the long-form narrative with soap opera elements was designed to tap into the UK tradition of heritage drama, while drawing on the speed and storytelling style of US television series. The chapter closes with a discussion of Downton Abbey’s production story in relation to the series’ remarkable popularity in the United Kingdom, the United...
This article explores the advantages of ‘structured industry workshops’ as a methodology for obta... more This article explores the advantages of ‘structured industry workshops’ as a methodology for obtaining nuanced empirical data about the practices and ‘behind the scenes’ workings of national screen agencies, organizations, institutions and stakeholders. The article argues that structured industry workshops with industry informants in the media industries have five major methodological benefits. The workshops facilitate access to and interest from elite or expert informants who can otherwise be hard to attract; they counter the risk of spin and ‘corporate scripts; they provide a valuable forum for not only finding out what practitioners think, but also how they discuss and engage with other practitioners; they can be a pathway to industry and policy change as well as future academic inquiry; and finally, structured industry workshops can help establish a platform for sustained dialogue and industry-academy collaborations, with genuine knowledge exchange and co-production as well as potential for impact.
This article explores the advantages of ‘structured industry workshops’ as a methodology for obta... more This article explores the advantages of ‘structured industry workshops’ as a methodology for obtaining nuanced empirical data about the practices and ‘behind the scenes’ workings of national screen agencies, organizations, institutions and stakeholders. The article argues that structured industry workshops with industry informants in the media industries have five major methodological benefits. The workshops facilitate access to and interest from elite or expert informants who can otherwise be hard to attract; they counter the risk of spin and ‘corporate scripts; they provide a valuable forum for not only finding out what practitioners think, but also how they discuss and engage with other practitioners; they can be a pathway to industry and policy change as well as future academic inquiry; and finally, structured industry workshops can help establish a platform for sustained dialogue and industry-academy collaborations, with genuine knowledge exchange and co-production as well as p...
Recent years have seen a rise in automatic funding schemes in the screen industries. This article... more Recent years have seen a rise in automatic funding schemes in the screen industries. This article examines the intended and unintended consequences of automatic incentives in smaller screen economies in Northern Europe. It focuses on the Danish Film Institute’s decision to abolish automatic schemes including tax incentives, and compares this case to other screen industries where automatic funding is well established or has been recently introduced. Based on discussions with executives and funders at national screen agencies, the article investigates who benefits from specific funding schemes and which screen industry automatic incentives prioritise and facilitate. Through this, it examines the political considerations and value systems that underpin funding priorities, and the perception of automatic funding among policy makers, implementers and stakeholders in national screen industries. The analysis indicates that automatic funding is rarely a proactive measure, but rather a respo...
This article outlines the main developments in Nordic film and television production studies in t... more This article outlines the main developments in Nordic film and television production studies in the 2000s, focusing on recent publications as well as the value of research collaborations, centres and conferences. The article also highlights current trends such as an ongoing interest in creating stronger connections between production and audience studies.
Recent years have seen a rise in automatic funding schemes in the screen industries. This article... more Recent years have seen a rise in automatic funding schemes in the screen industries. This article examines the intended and unintended consequences of automatic incentives in smaller screen economies in Northern Europe. It focuses on the Danish Film Institute’s decision to abolish automatic schemes including tax incentives, and compares this case to other screen industries where automatic funding is well established or has been recently introduced. Based on discussions with executives and funders at national screen agencies, the article investigates who benefits from specific funding schemes and which screen industry automatic incentives prioritise and facilitate. Through this, it examines the political considerations and value systems that underpin funding priorities, and the perception of automatic funding among policy makers, implementers and stakeholders in national screen industries. The analysis indicates that automatic funding is rarely a proactive measure, but rather a response to failing screen industries or competition from neighbouring funding incentives.
Critical Studies in Television: The International Journal of Television Studies, 2017
This article offers a historical analysis of the audience testing of television drama from The Da... more This article offers a historical analysis of the audience testing of television drama from The Danish Broadcasting Corporation (DR) by the in-house DR Media Research Department from the mid-1990s until 2016. The article investigates how the methods for testing have changed from more traditional focus groups and surveys to include biometric methods (e.g. skin conductance) to measure audience arousal. While audience testing is often primarily viewed as a quality measurement tool for executives, the article argues that testing can also be a dialogue-based tool offering creative practitioners the opportunity to learn more about their series and their audiences.
... arising as they do from a political will to support the art of film, and from a plethora of c... more ... arising as they do from a political will to support the art of film, and from a plethora of cultural and educational policies, all overseen by ... The Danish Directors 2 and directors, Lars von Trier's Zentropa, with its Film Town and collectivist ethos, being the most obvious example. ...
Page 1. A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture Ib Bondebj... more Page 1. A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture Ib Bondebjerg & Eva Novrup Redvall 2011 Page 2. 2 Table of Contents List of figures ..... 3 ...
Chapter for Miranda Banks, Bridget Conor and Vicki Mayer (eds.): Production Studies, The Sequel! ... more Chapter for Miranda Banks, Bridget Conor and Vicki Mayer (eds.): Production Studies, The Sequel! Book description: Production Studies, The Sequel! is an exciting exploration of the experiences of media workers in local, global, and digital communities—from prop-masters in Germany, Chinese film auteurs, producers of children’s television in Qatar, Italian radio broadcasters, filmmakers in Ethiopia and Nigeria, to seemingly-autonomous Twitterbots. Case studies examine international production cultures across five continents and incorporate a range of media, including film, television, music, social media, promotional media, video games, publishing and public broadcasting. Using the lens of cultural studies to examine media production, Production Studies, The Sequel! takes into account transnational production flows and places production studies in conversation with other major areas of media scholarship including audience studies, media industries, and media history. A follow-up to the successful Production Studies, this collection highlights new and important research in the field, and promises to generate continued discussion about the past, present, and future of production studies.
"""Following the two previous volumes in this series of practitioner i... more """Following the two previous volumes in this series of practitioner interviews with Danish directors, Danish Directors 3 focuses on Danish documentary cinema. Although many of the directors interviewed here have ventured successfully into the terrain of fiction, their main contributions to the thriving post-80s milieu lie in the interconnected areas of documentary film and television. Emphasizing the new documentary cinema, this book features film-makers who belong to the generation born in the 1970s. Many of the interviewees were trained at the National Film School of Denmark’s now legendary Department of Documentary and Television. The term ‘new’ also captures tendencies that cut across the work of the film-makers. For example, for the generation in question, internationalization and the development of a new digital media culture are inevitable aspects of everyday life, and, indeed, of the professional environments in which they operate. A comprehensive overview of documentary directors currently working in Denmark, this is the only book of its kind about this growing area of Danish cinema.""""
Redvall analyses the relationship between different notions of public service broadcasting and id... more Redvall analyses the relationship between different notions of public service broadcasting and ideas of media and screenwriting ethics, using the work of the in-house drama unit (DR Fiction) at the Danish Broadcasting Corporation (DR) as a case study. Since 2003, DR has had certain production ‘dogmas’ for how to develop television drama series. The dogma of ‘double storytelling’ insists on series containing social and ethical themes beside ‘the good story’. What can be considered as a particular institutionalized engagement with ethics, Redvall investigates how it creates a specific framework for thinking about ‘public service storytelling’ and discusses the implications for screenwriting practices when considerations of the ethical implications and impact of stories are an established part of the commissioning process from the earliest stages.
Harriet Bloch is regarded as the first professional female screenwriter in Denmark (Sundholm et a... more Harriet Bloch is regarded as the first professional female screenwriter in Denmark (Sundholm et al. 2012, 405) and as one of the most successful Danish screenwriters to this day (Schröder 2011). She had no formal training in writing, but picked up knowledge of films at the cinema where she could watch up to three films a day (Bloch 1962, n.p.). The idea of writing screenplays of her own came from watching Urban Gad's classic silent film Afgrunden/The Abyss (1910) starring Asta Nielsen. Bloch figured that she would be able to write something of a similar quality, and she thus sent an unsolicited screenplay to the cinema owner and film producer Constantin Philipsen, who had opened Denmark's first cinema, Kosmorama, in 1904. According to Bloch, Philipsen was not interested in her story because he only wanted films that were either really vulgar or really exciting and this was a romantic melodrama (1962, n.p.). However, Nordisk Film took an interest in the story, which became Au...
"""Following the two previous volumes in this series of practitioner i... more """Following the two previous volumes in this series of practitioner interviews with Danish directors, Danish Directors 3 focuses on Danish documentary cinema. Although many of the directors interviewed here have ventured successfully into the terrain of fiction, their main contributions to the thriving post-80s milieu lie in the interconnected areas of documentary film and television. Emphasizing the new documentary cinema, this book features film-makers who belong to the generation born in the 1970s. Many of the interviewees were trained at the National Film School of Denmark’s now legendary Department of Documentary and Television. The term ‘new’ also captures tendencies that cut across the work of the film-makers. For example, for the generation in question, internationalization and the development of a new digital media culture are inevitable aspects of everyday life, and, indeed, of the professional environments in which they operate. A comprehensive overview of documentary directors currently working in Denmark, this is the only book of its kind about this growing area of Danish cinema.""""
This chapter examines the transnational success of drama serials such as Forbrydelsen/The Killing... more This chapter examines the transnational success of drama serials such as Forbrydelsen/The Killing (2007-2012) and Borgen (2010-2013) and the popularity of a special kind of ’Nordic Noir’ crime drama, the Danish television production landscape enjoyed an unprecedented international interest in the early 2010s. While the series found widespread circulation and sparked new discourses on subtitled content that challenges dominant English-speaking fare, the interest in what was perceived as a highly professional public service production culture simultaneously created new possibilities for Danish talent to launch A-list careers on the global television stage. This study further analyses this new circulation of talent, focusing on how the Danish practitioners have experienced the move to the international production landscape, particularly on what they perceive as similarities and differences between Danish and US production cultures. The chapter also explores what can be regarded as the ...
The chapter explores the successful meeting of “mainstream trends” and “masterpiece traditions” i... more The chapter explores the successful meeting of “mainstream trends” and “masterpiece traditions” in the commissioning and production of Downton Abbey (2010–2015), and the way in which this “postheritage drama” marks a significant transatlantic encounter between different broadcasting cultures and storytelling traditions. Drawing on recent research on the special relationship between the United Kingdom and the United States in television drama, the analysis first details how this period drama became a collaboration between the commercial UK broadcaster ITV and the American PBS station WGBH and its Masterpiece series. The chapter then investigates how the long-form narrative with soap opera elements was designed to tap into the UK tradition of heritage drama, while drawing on the speed and storytelling style of US television series. The chapter closes with a discussion of Downton Abbey’s production story in relation to the series’ remarkable popularity in the United Kingdom, the United...
This article explores the advantages of ‘structured industry workshops’ as a methodology for obta... more This article explores the advantages of ‘structured industry workshops’ as a methodology for obtaining nuanced empirical data about the practices and ‘behind the scenes’ workings of national screen agencies, organizations, institutions and stakeholders. The article argues that structured industry workshops with industry informants in the media industries have five major methodological benefits. The workshops facilitate access to and interest from elite or expert informants who can otherwise be hard to attract; they counter the risk of spin and ‘corporate scripts; they provide a valuable forum for not only finding out what practitioners think, but also how they discuss and engage with other practitioners; they can be a pathway to industry and policy change as well as future academic inquiry; and finally, structured industry workshops can help establish a platform for sustained dialogue and industry-academy collaborations, with genuine knowledge exchange and co-production as well as potential for impact.
This article explores the advantages of ‘structured industry workshops’ as a methodology for obta... more This article explores the advantages of ‘structured industry workshops’ as a methodology for obtaining nuanced empirical data about the practices and ‘behind the scenes’ workings of national screen agencies, organizations, institutions and stakeholders. The article argues that structured industry workshops with industry informants in the media industries have five major methodological benefits. The workshops facilitate access to and interest from elite or expert informants who can otherwise be hard to attract; they counter the risk of spin and ‘corporate scripts; they provide a valuable forum for not only finding out what practitioners think, but also how they discuss and engage with other practitioners; they can be a pathway to industry and policy change as well as future academic inquiry; and finally, structured industry workshops can help establish a platform for sustained dialogue and industry-academy collaborations, with genuine knowledge exchange and co-production as well as p...
Recent years have seen a rise in automatic funding schemes in the screen industries. This article... more Recent years have seen a rise in automatic funding schemes in the screen industries. This article examines the intended and unintended consequences of automatic incentives in smaller screen economies in Northern Europe. It focuses on the Danish Film Institute’s decision to abolish automatic schemes including tax incentives, and compares this case to other screen industries where automatic funding is well established or has been recently introduced. Based on discussions with executives and funders at national screen agencies, the article investigates who benefits from specific funding schemes and which screen industry automatic incentives prioritise and facilitate. Through this, it examines the political considerations and value systems that underpin funding priorities, and the perception of automatic funding among policy makers, implementers and stakeholders in national screen industries. The analysis indicates that automatic funding is rarely a proactive measure, but rather a respo...
This article outlines the main developments in Nordic film and television production studies in t... more This article outlines the main developments in Nordic film and television production studies in the 2000s, focusing on recent publications as well as the value of research collaborations, centres and conferences. The article also highlights current trends such as an ongoing interest in creating stronger connections between production and audience studies.
Recent years have seen a rise in automatic funding schemes in the screen industries. This article... more Recent years have seen a rise in automatic funding schemes in the screen industries. This article examines the intended and unintended consequences of automatic incentives in smaller screen economies in Northern Europe. It focuses on the Danish Film Institute’s decision to abolish automatic schemes including tax incentives, and compares this case to other screen industries where automatic funding is well established or has been recently introduced. Based on discussions with executives and funders at national screen agencies, the article investigates who benefits from specific funding schemes and which screen industry automatic incentives prioritise and facilitate. Through this, it examines the political considerations and value systems that underpin funding priorities, and the perception of automatic funding among policy makers, implementers and stakeholders in national screen industries. The analysis indicates that automatic funding is rarely a proactive measure, but rather a response to failing screen industries or competition from neighbouring funding incentives.
Critical Studies in Television: The International Journal of Television Studies, 2017
This article offers a historical analysis of the audience testing of television drama from The Da... more This article offers a historical analysis of the audience testing of television drama from The Danish Broadcasting Corporation (DR) by the in-house DR Media Research Department from the mid-1990s until 2016. The article investigates how the methods for testing have changed from more traditional focus groups and surveys to include biometric methods (e.g. skin conductance) to measure audience arousal. While audience testing is often primarily viewed as a quality measurement tool for executives, the article argues that testing can also be a dialogue-based tool offering creative practitioners the opportunity to learn more about their series and their audiences.
Offering unique insights into the writing and production of television drama series such as The K... more Offering unique insights into the writing and production of television drama series such as The Killing and Borgen, produced by DR, the Danish Broadcasting Corporation, Novrup Redvall explores the creative collaborations in writers' rooms and 'production hotels' through detailed case studies of Denmark's public service production culture.
"Valuable to an academic audience for its very clear presentation of the history of the Danish television industry, Eva Novrup Redvall provides well synthesized descriptions of extensive interviews and explains the institutional reasons for how and why screenwriting practices operate in Denmark. The book is also an excellent outline for what one might want to consider in examining a work role within an industrial situation." - Janet Staiger, William P. Hobby Centennial Professor of Communication in the Department of Radio-Television-Film at the University of Texas at Austin, USA
'This book belongs in that tiny group of inspirational analytic works that bring the academy and the industry closer together. With unparalleled access to the inner sanctums of television drama production (including the writers' room itself), Eva Novrup Redvall reveals the conditions of production behind Danish TV dramas. She examines the borrowing of techniques from the US; how they were adapted to a public service context; and how they continue to evolve dynamically. She skilfully uncovers the organisational methods that have enabled Danish TV industry to unlock the creativity of its writers and thus to achieve sustained global success.' - John Ellis, Professor of Media Arts, Royal Holloway University of London, UK
'Writing and Producing Television Drama in Denmark is a key text on Scandinavian television and production culture. As such, it is not only recommended to scholars of Scandinavian audio-visual culture, but also to those - including undergraduates as well as more advanced scholars -who are more generally interested in television production and scriptwriting.' - Tobias Hochscherf, Historical Journal of Film, Radio and Television
The book provides a wealth of material to ponder, not only for those interested in Danish television but for anyone curious about the direction of small screen fiction generally.' - Glen Creeber, New Review of Film and Television Studies
Over the last two decades or so, the New Danish Cinema has established itself as an important sou... more Over the last two decades or so, the New Danish Cinema has established itself as an important source of cinematic renewal and innovation, and as a model for how small, minor or peripheral cinemas can survive in an industry dominated by Global Hollywood. Following in the footsteps of critically-acclaimed The Danish Directors (also published by Intellect), The Danish Directors 2 provides a practitioner’s perspective on the social, cultural, and economic milieus in which Danish film-makers have been able to develop their practice, and to thrive.
With insider information about the making, marketing and distribution of award-winning films, and interviews with seminal directors such as Anders Thomas Jensen, Annette K. Olesen, and Lone Scherfig, The Danish Directors 2 allows readers entry into what might seem to be a forbidding body of work. The editors are knowledgeable and sensitive interrogators, and their appreciation of the specific qualities of each director’s work elicits thoughtful replies. This volume will appeal to students, scholars, and cinephiles alike.
Following the two previous volumes in this series of practitioner interviews with Danish director... more Following the two previous volumes in this series of practitioner interviews with Danish directors, Danish Directors 3 focuses on Danish documentary cinema. Although many of the directors interviewed here have ventured successfully into the terrain of fiction, their main contributions to the thriving post-80s milieu lie in the interconnected areas of documentary film and television.
Emphasizing the new documentary cinema, this book features film-makers who belong to the generation born in the 1970s. Many of the interviewees were trained at the National Film School of Denmark’s now legendary Department of Documentary and Television. The term ‘new’ also captures tendencies that cut across the work of the film-makers. For example, for the generation in question, internationalization and the development of a new digital media culture are inevitable aspects of everyday life, and, indeed, of the professional environments in which they operate. A comprehensive overview of documentary directors currently working in Denmark, this is the only book of its kind about this growing area of Danish cinema.
The directors interviewed for the book are: Phie Ambo, Dola Bonfils, Dorte Høeg Brask, Mads Brügger, Pernille Rose Grønkjær, Jesper Jargil, Torben Skjødt Jensen, Max Kestner, Mikala Krogh, Simone Aaberg Kærn, Asger Leth, Janus Metz, Eva Mulvad, Michael Noer, Katia Forbert Petersen, Jeppe Rønde, Sami Saif, Anne Wivel and Anders Østergaard
This book offers comparative studies of the production, content, distribution and reception of fi... more This book offers comparative studies of the production, content, distribution and reception of film and television drama in Europe. The collection brings together scholars from the humanities and social sciences to focus on how new developments are shaped by national and European policies and practices, and on the role of film and television in our everyday lives. The chapters explore main trends in transnational European film and television fiction, addressing issues of co-production and collaboration, and of how cultural products circulate across national borders. The chapters investigate how watching film and television from neighbouring countries can be regarded as a special kind of cultural encounter with the possibility of facilitating reflections on national differences within Europe and negotiations of what characterises a national or a European identity respectively.
The first in depth and comparative analysis of the bigger picture of European television drama in... more The first in depth and comparative analysis of the bigger picture of European television drama in a transnational context across several European countries. Offers insights into the creative television industries in Europe, the forms of co-production and different national traditions. Combines quantitative methods and data on the production, distribution and reception of European television drama with qualitative methods and analysis of television drama genres. Provides new perspectives on mediated cultural encounters and the role of television drama for national and European culture.
This book deals with the role of television drama in Europe as enabler of transnational, cultural encounters for audiences and the creative community. It demonstrates that the diversity of national cultures is a challenge for European TV drama but also a potential richness and source of creative variation. Based on data on the production, distribution and reception of recent TV drama from several European countries, the book presents a new picture of the transnational European television culture. The authors analyse main tendencies in television policy and challenges for national broadcasters coming from new global streaming services. Comparing cases of historical, contemporary and crime drama from several countries, this study shows the importance of creative co-production and transnational mediated cultural encounters between national cultures of Europe.
"""Following the two previous volumes in this series of practitioner interviews with Danish direc... more """Following the two previous volumes in this series of practitioner interviews with Danish directors, Danish Directors 3 focuses on Danish documentary cinema. Although many of the directors interviewed here have ventured successfully into the terrain of fiction, their main contributions to the thriving post-80s milieu lie in the interconnected areas of documentary film and television.
Emphasizing the new documentary cinema, this book features film-makers who belong to the generation born in the 1970s. Many of the interviewees were trained at the National Film School of Denmark’s now legendary Department of Documentary and Television. The term ‘new’ also captures tendencies that cut across the work of the film-makers. For example, for the generation in question, internationalization and the development of a new digital media culture are inevitable aspects of everyday life, and, indeed, of the professional environments in which they operate. A comprehensive overview of documentary directors currently working in Denmark, this is the only book of its kind about this growing area of Danish cinema.""""
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"Valuable to an academic audience for its very clear presentation of the history of the Danish television industry, Eva Novrup Redvall provides well synthesized descriptions of extensive interviews and explains the institutional reasons for how and why screenwriting practices operate in Denmark. The book is also an excellent outline for what one might want to consider in examining a work role within an industrial situation." - Janet Staiger, William P. Hobby Centennial Professor of Communication in the Department of Radio-Television-Film at the University of Texas at Austin, USA
'This book belongs in that tiny group of inspirational analytic works that bring the academy and the industry closer together. With unparalleled access to the inner sanctums of television drama production (including the writers' room itself), Eva Novrup Redvall reveals the conditions of production behind Danish TV dramas. She examines the borrowing of techniques from the US; how they were adapted to a public service context; and how they continue to evolve dynamically. She skilfully uncovers the organisational methods that have enabled Danish TV industry to unlock the creativity of its writers and thus to achieve sustained global success.' - John Ellis, Professor of Media Arts, Royal Holloway University of London, UK
'Writing and Producing Television Drama in Denmark is a key text on Scandinavian television and production culture. As such, it is not only recommended to scholars of Scandinavian audio-visual culture, but also to those - including undergraduates as well as more advanced scholars -who are more generally interested in television production and scriptwriting.' - Tobias Hochscherf, Historical Journal of Film, Radio and Television
The book provides a wealth of material to ponder, not only for those interested in Danish television but for anyone curious about the direction of small screen fiction generally.' - Glen Creeber, New Review of Film and Television Studies
With insider information about the making, marketing and distribution of award-winning films, and interviews with seminal directors such as Anders Thomas Jensen, Annette K. Olesen, and Lone Scherfig, The Danish Directors 2 allows readers entry into what might seem to be a forbidding body of work. The editors are knowledgeable and sensitive interrogators, and their appreciation of the specific qualities of each director’s work elicits thoughtful replies. This volume will appeal to students, scholars, and cinephiles alike.
Emphasizing the new documentary cinema, this book features film-makers who belong to the generation born in the 1970s. Many of the interviewees were trained at the National Film School of Denmark’s now legendary Department of Documentary and Television. The term ‘new’ also captures tendencies that cut across the work of the film-makers. For example, for the generation in question, internationalization and the development of a new digital media culture are inevitable aspects of everyday life, and, indeed, of the professional environments in which they operate. A comprehensive overview of documentary directors currently working in Denmark, this is the only book of its kind about this growing area of Danish cinema.
The directors interviewed for the book are:
Phie Ambo, Dola Bonfils, Dorte Høeg Brask, Mads Brügger, Pernille Rose Grønkjær, Jesper Jargil, Torben Skjødt Jensen, Max Kestner, Mikala Krogh, Simone Aaberg Kærn, Asger Leth, Janus Metz, Eva Mulvad, Michael Noer, Katia Forbert Petersen, Jeppe Rønde, Sami Saif, Anne Wivel and Anders Østergaard
Offers insights into the creative television industries in Europe, the forms of co-production and different national traditions.
Combines quantitative methods and data on the production, distribution and reception of European television drama with qualitative methods and analysis of television drama genres.
Provides new perspectives on mediated cultural encounters and the role of television drama for national and European culture.
This book deals with the role of television drama in Europe as enabler of transnational, cultural encounters for audiences and the creative community. It demonstrates that the diversity of national cultures is a challenge for European TV drama but also a potential richness and source of creative variation. Based on data on the production, distribution and reception of recent TV drama from several European countries, the book presents a new picture of the transnational European television culture. The authors analyse main tendencies in television policy and challenges for national broadcasters coming from new global streaming services. Comparing cases of historical, contemporary and crime drama from several countries, this study shows the importance of creative co-production and transnational mediated cultural encounters between national cultures of Europe.
Emphasizing the new documentary cinema, this book features film-makers who belong to the generation born in the 1970s. Many of the interviewees were trained at the National Film School of Denmark’s now legendary Department of Documentary and Television. The term ‘new’ also captures tendencies that cut across the work of the film-makers. For example, for the generation in question, internationalization and the development of a new digital media culture are inevitable aspects of everyday life, and, indeed, of the professional environments in which they operate. A comprehensive overview of documentary directors currently working in Denmark, this is the only book of its kind about this growing area of Danish cinema.""""