From ‘secret’ online teen drama to international cult phenomenon: The global expansion of SKAM and its public service mission

Sundet, Vilde Schanke

doi:10.1177/1749602019879856

Cited by 47 publications

(54 citation statements)

References 34 publications

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“…Skam has been studied from various perspectives, giving priority to literary theory, media theory and social science (see Lindtner et al 2018;Krüger et al 2019;Sundet 2020). The role of religion in the fourth season has been examined, where Sana, a Muslim girl, is the main character (Aarvik 2018).…”

Section: The Skam Seriesmentioning

confidence: 99%

Reworking the Social Order: Skam as an Instance of Public Moral Education

Kvamme

2021

Stud Philos Educ

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The Norwegian high-school drama series Skam is produced and published by the Norwegian Broadcasting Corporation, a publicly funded institution distinguished by an explicit obligation to the public interest, not only serving their audience as consumers but even as citizens. Generally, the normativity expressed in Skam may be summarized by treating all with respect, involving not only moral considerations of what is right, but also ethical conceptions of what is good, offered, opened up and obstructed by the living social order established there. In season three, given attention here, the plot revolves around issues concerning same-sex relationships, mental disorder and religion. Here Skam becomes interesting for the field of moral education, elaborating on how to encounter the challenges of pluralistic societies that undergo continuous changes and in which common values have become open questions. In this paper attention is drawn toward Skam’s ethical dimension, considering Skam as an instance of public moral education. Faced with tensions, hindrances and conflicts, the norm of treating all with respect, irrespective of how trivial it may appear outside of context, becomes loaded with meaning, while the actualization of the good life is at risk. Appalling is the way hegemonic religion is transformed in the living social order. Decisive is the active role taken by the youths in the series, recontextualizing the norm. The social order here is not a static, given condition, but a continuous, moving, cultivating project. In that respect, a certain democratic aspect of the public moral education of Skam also becomes visible. Together, the youths portrayed in the series seem to accommodate a variety of expressions of life emerging within their community.

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Section: The Skam Seriesmentioning

confidence: 99%

Reworking the Social Order: Skam as an Instance of Public Moral Education

Kvamme

2021

Stud Philos Educ

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“…Although several studies have addressed the convergence of television, journalism and/or politics with social media (e.g. Agger andMortensen 2016, Enjolras et al 2013;Enli and Skogerbø 2013;Kalsnes 2016;Larsson and Moe 2014;Sundet 2018), there is a gap in the research literature on the hybrid of social media and Norwegian film industry. In addition, there is currently no published Nordic research addressing how the film industry utilizes social media.…”

Section: Literature Reviewmentioning

confidence: 99%

Paid or semi-public media? The Norwegian film industry’s strategies for social media

Holmene

2018

Northern Lights: Film &Amp; Media Studies Yearbook

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In this article, I explore how conglomerates and the independent film companies in Norway conceptualize their social media strategies before the release of their films in movie theatres. I analyse applications made to the Norwegian Film Institute's (NFI) support programme for promotional grants in 2015. The ability of individual companies to interpret and go beyond a framing of social media as semi-public platformswhere companies can gain visibility free of chargeis one indication of how strategic knowledge differs. Major distributors tend to perceive social media as a place to buy attention from a targeted audience. Thus, they are taking advantage of traffic data offered by surveillance technologies embedded in social media platforms such as Facebook and YouTube. This, I argue, is a distinct feature of strategic resources linked to power, networks and knowledge about audiences, which intensify power differentials between large, established corporations and small-scale independent players.

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“…Instagram was central in the show’s distribution and several of the main characters had their own Instagram accounts that were integral to the story. Skam is also an illuminating example of how media texts spread through networked cultures and went from being a ‘secret Norwegian online teen drama to an international phenomenon’ (Sundet, 2020) and of a thriving and supportive online culture (Krüger and Rustad, 2019). A few examples: in 2018, it was reported that the series has been downloaded 180 million times on Chinese Weibo (Max, 2018).…”

Section: Introductionmentioning

confidence: 99%

Introducing quantitative reception aesthetics: Television reception and textual engagement

Rustad

Larsson

2021

Critical Studies in Television: The International Journal of Te

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This article introduces quantitative reception aesthetics as a method and demonstrates how big data derived from social media services and textual analysis can be employed to uncover hitherto hidden processes of media spectatorship. It demonstrates how mixing quantitative and qualitative methods allows us to understand textual engagement and how media spectatorship evolves over time. Taking the Norwegian web series, Skam (2015–2017), as its case study, the article demonstrates how (web)television engagement on Instagram is linked to aesthetics and narrative events and how textual engagement is more universal than perhaps post-structuralist reception studies of media reception might have us believe.

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From ‘secret’ online teen drama to international cult phenomenon: The global expansion of SKAM and its public service mission

Cited by 47 publications

References 34 publications

Reworking the Social Order: Skam as an Instance of Public Moral Education

Reworking the Social Order: Skam as an Instance of Public Moral Education

Paid or semi-public media? The Norwegian film industry’s strategies for social media

Introducing quantitative reception aesthetics: Television reception and textual engagement

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