Down These European Mean Streets

Hansen, Kim Toft; Peacock, Steven; Turnbull, Sue

doi:10.1007/978-3-319-96887-2_1

Cited by 9 publications

(3 citation statements)

References 14 publications

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“…This is why drama is believed to be a more successful transnational product than comedy, as humour has a stronger local character. Television crime drama has a history of pan-European collaboration, the so-called Euro noir, making use of recognisable plots and locations across Europe (Hansen et al, 2018). More recently, HBO and Netflix have also invested in crime drama in order to expand into European markets through the localisation of a globally recognisable crime plot, and a focus on multi-plotted narratives that centre on settings and places, rather than characters (Hansen, 2020a: 285–290).…”

Section: Transnational Television: the Space Betweenmentioning

confidence: 99%

Transnationalisation revisited through the Netflix Original: An analysis of investment strategies in Europe

Iordache

Raats²,

Afilipoaie

2021

Convergence: The International Journal of Research into New Med

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Players in the European market have developed a series of transnational collaborations and practices in the cross-border production and distribution of audio-visual content, media ownership, regulation and audience reception. Transnational subscription video-on-demand platforms have also visibly increased their investments in original content, in their attempt to expand and maintain their international subscriber bases. Among them, Netflix has been particularly active in investing in European markets. This article traces the evolution of Netflix investments in European original scripted series produced between 2012 and 2020 and analyses the platform’s investment strategies in European markets through the lens of transnational television theory. The findings point to various elements of transnationalisation, placing European originals at the intersection between local and global, through market dynamics, strategic collaborations and content with transnational appeal. The findings also confirm the growing importance of rights retention and premium content offerings through the increase of big-budget commissions, particularly in developed European markets.

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Section: Transnational Television: the Space Betweenmentioning

confidence: 99%

Transnationalisation revisited through the Netflix Original: An analysis of investment strategies in Europe

Iordache

Raats²,

Afilipoaie

2021

Convergence: The International Journal of Research into New Med

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“…Local Creative Europe desks, according to our informant Ene Katrine Rasmussen, are actively promoting the scheme to independent producers in the region. 8 The international appeal of the crime genre has been researched by a wide range of scholars, including Hansen and Waade (2017), Bondebjerg et al (2017), andHansen, Peacock andTurnbull (2018). The assumption of a wide transcultural appeal of crime narratives was a built-in feature of the research project DETECt (2018-21), including the official report on transnational VOD platforms (Antoniazzi and Barra 2021).…”

Section: Tv Crime Series As Transcultural Communication: the Teammentioning

confidence: 99%

Scandinavian success as European policy dilemma: creative Europe’s funding for TV drama co-productions, 2014-20

Bengesser

Hansen

2022

International Journal of Cultural Policy

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Scandinavian success as European policy dilemma Creative Europe's funding for TV drama co-productions, 2014-20This article surveys the fiction productions that received funding from Creative Europe's TV Programming scheme 2014-2020. The evaluation shows that most funding went to North-Western Europe with Scandinavia surpassing Europe's big TV producing nations. The geographical and genre imbalances in the TV scheme must be seen in the light of the long-established close collaboration between Germany and primarily the Scandinavian countries and the profiled position of "Nordic Noir" crime fiction as the engine that drives forward international collaboration. This trend exemplifies European policy dilemmas emerging from television's role in the intersections of economy and culture. North-European countries appear well-equipped in advance to meet the criteria of Creative Europe through established collaboration, while differences in the media systems and production cultures have kept producers in the South and East of Europe from even applying. The EU funding scheme may, thus, have strengthened already strong relationships rather than creating new ones.

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“…Recently, we have seen attempts to diversify the range of television produced in Finland by using the general templates set by the Nordic Noir brand. This brand provides an obvious consideration for any Nordic production planning on international sales due to its prominent global profile (see McElroy, 2020, for the mobility of the concept of Nordic Noir; Hansen et al, 2018, for further observations on Nordic Noir in the context of European television drama). For example, Bordertown fits clearly within the Nordic Noir genre, with its neurodiverse lead detective reminiscent of The Bridge (2011-2018), gruesome murders which expose societal issues and moral dilemmas, and sense of place in the eastern border region with a border crossing to Russia playing a part in the narrative.…”

Section: Locating Noir In Finlandmentioning

confidence: 99%

Post-Nordic-noir landscapes: Competition through localisation in Finnish streaming media

Wicks

Kääpä

2022

Critical Studies in Television: The International Journal of Te

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This article discusses the ways locality and sense of place are used in the production and promotion of streaming media from small nations. We concentrate on location-related decisions behind Man in Room 301 (2019), a Finnish thriller series produced by VOD service Elisa Viihde Viaplay. While locality acts as a significant tool for Nordic Noir, a genre of film and TV characterised by a distinct ‘localised’ style, this article explores how the Finnish streaming industry is progressing towards a ‘post-Nordic-noir’ framework, a direction that focuses on an intense sense of place, both on the level of representation and production-related decisions.

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Down These European Mean Streets

Cited by 9 publications

References 14 publications

Transnationalisation revisited through the Netflix Original: An analysis of investment strategies in Europe

Transnationalisation revisited through the Netflix Original: An analysis of investment strategies in Europe

Scandinavian success as European policy dilemma: creative Europe’s funding for TV drama co-productions, 2014-20

Post-Nordic-noir landscapes: Competition through localisation in Finnish streaming media

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