Transnational co-production, multiplatform television and <i>My Brilliant Friend</i>

Dunleavy, Trisha

doi:10.1177/1749602020953755

Cited by 23 publications

(23 citation statements)

References 13 publications

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“…A second category of opportunities of European collaboration is attributed to cultural and creative input. As the transnational nature of stories told has become more appealing, so have the contributions of European talent, be they in scriptwriting, production process or directing (Bondebjerg, 2020; Dunleavy, 2020). Transnational co-productions have also enriched their dramatic appeal by normalising bilingual communication and negotiating cultural differences (McElroy, 2020).…”

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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“…Sharing new research perspectives on television as a 'young' medium and audiovisual culture, we, as guest editors, are delighted to introduce the first of two special issues dedicated to the 'youthification' of television in the contemporary multi-platform era (Dunleavy, 2020;Halskov, 2021), inspired largely by the Biennial Conference of the Television Studies Section of ECREA (European Communication Research and Education Association) held on 24 and 25 October 2019 at the University of Groningen, in the Netherlands. 'Youthification' relates to the influx of young adults as, for instance, discussed in urban studies, as well as the notion of being 'forever young' (Moos, 2016).…”

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confidence: 99%

The ‘youthification’ of television

Hagedoorn

Eichner

Lozano

2021

Critical Studies in Television: The International Journal of Te

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In our contemporary age, defined profoundly by convergence and digitalisation, how has television spread across different platforms and varied screens to attract and engage young audiences, children and youth? Typically, this demographic has been seen as hard to reach, especially by older, more established media like public service broadcasters and other news providers. Young people are increasingly moving away from traditional broadcast television, turning instead to other screens and formats. Such a trend is compelling established media institutions to adapt, to recognise new viewing cultures and disseminate content differently across different platforms. Novel formats, such as the Norwegian teen drama series SKAM (2015-2017) and its international adaptations in France, Belgium, Germany, Italy, the United States, Spain and the Netherlands, or the Spanish talent show Operación Triunfo (Star Academy) (2001-2011), which was relaunched in 2017 by TVE with a new social media strategy, have succeeded in overcoming the traditional boundaries of the medium, through multi-platform technology and storytelling via social media networks. Defining this trend is a bifurcation of the audience, with legacy media skewing older, while younger populations increasingly connect through other audiovisual devices and to different types of content. Nevertheless, as a connected screen culture, no longer constrained by a singular screen or fixed location in households, with viewers as cord-cutters, the medium continues to play a key role in the everyday lived realities of people -it remains 'a vital resource for solace, daydreaming, social ritual, knowledge and storytelling' (Hermes and Hill, 2020: 655) in our rapidly changing times.Evident from the research in recent years is that the relationship between youth and television has not ended (see Potter, 2015;Sakr and Steemers, 2017, 2019). Still, understanding the medium's relevance for a younger media generation requires researchers of television and audiovisual culture to reflect deeply on the impact of cross-Critical Studies in Television:

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“…Dunleavy 2020; Mikos 2020a; 2020b.) Ylirajaisen televisiotuotannon tutkimus Euroopassa onkin keskittynyt erityisesti televisiodraamaan ja sen tuotantokulttuureihin (Bondeberg 2016;Bondeberg et al 2017;Dunleavy 2020;Mikos 2020b;Redvall 2016). Eurovision laulukilpailun tapaus tuo esiin, ettei ylirajainen yhteistyö luonnehdi ainoas-taan televisiodraamaa ja uusia tuotantoja vaan on läsnä myös julkisen palvelun yleisradioyhtiöiden tuottamassa perinteikkäässä viihdeohjelmassa.…”

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Laulukilpailusta show-kilpailuksi?

Pajala¹

2021

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Eurovision laulukilpailua koskevaa tutkimusta on ilmestynyt melko runsaasti 2000-luvulla, mutta televisioestetiikkaan ja -tuotantoon liittyviä kysymyksiä on tutkimuksessa tarkasteltu vain vähän. Tässä artikkelissa tartun usein esitettyyn ajatukseen, että Eurovision laulukilpailussa korostuvat nykyisin entistä enemmän visuaalisuus ja spektaakkeli. Kysyn, miten euroviisukappaleiden audiovisuaalinen näytteillepano on kehittynyt ohjelman historian aikana ja millaiseksi tuotannon luonne on kehittynyt 2000-luvulla.Artikkelin pääasiallinen tutkimusaineisto koostuu ensinnäkin vuosien 1960, 1970, 1980, 1990 ja 2000 Eurovision laulukilpailuista, joita analysoimalla luon kuvan kilpailukappaleiden audiovisuaalisen esillepanon kehityksestä. Toiseksi käytän vuosien 2016–2019 Euroviisujen tuotantotietoja aineistona rakentaessani kuvaa laulukilpailun nykytuotannosta. Esitän, että euroviisuesityksille on aina pyritty rakentamaan kappaleen tyyliin sopiva visuaalinen ilme. Teknologinen kehitys ja kilpailun sääntömuutokset ovat kuitenkin mahdollistaneet entistä vaihtelevammat ja monimutkaisemmat esitykset. Suurimuotoisen tv-spektaakkelin rakentaminen edellyttää yhteistyötä eri maista tulevien ammattilaisten ja yritysten kesken, ja nykyiset Eurovision laulukilpailut ovatkin ylirajaisia tuotantoja. Samat televisioalan ammattilaiset ja yhtiöt osallistuvat kilpailun tuotantoon eri maissa. Lisäksi kansalliset delegaatiot palkkaavat ylirajaisesti työskenteleviä ammattilaisia suunnittelemaan kilpailuesityksiään. Eurovision laulukilpailun tuotantoon on myös muodostunut eräänlainen alueellinen hierarkia, jossa Pohjois-Eurooppa on johtavassa asemassa erityisesti Ruotsin television SVT:n ja ruotsalaisten ammattilaisten keskeisen roolin ansiosta.Avainsanat: Eurovision laulukilpailu, televisioestetiikka, televisiotuotanto, spektaakkeli, ylirajaisuus From a song contest to a show contest? The increasingly transnational production of television spectacle in the Eurovision Song ContestAlthough academic interest in the Eurovision Song Contest (ESC) has grown over the past two decades, research has only rarely focused on television aesthetics and television production. The article explores the common claim that the contemporary ESC places more and more emphasis on visual spectacle. The article asks, how has the audiovisual presentation of Eurovision entries developed over the course of the contest’s history, and how can we characterize the production of the contemporary ECS?The primary research material consists of, firstly, ESC broadcasts from 1960, 1970, 1980, 1990, and 2000. These are analysed to describe the historical development of the audiovisual presentation of Eurovision entries. Secondly, the article draws on production information for ESC 2016–2019 to gain an understanding of the scope of the contemporary production.The article argues that ESC producers have always aimed at creating visually varied performances that suit the style of each song. However, changes in technology and the contest’s rules have enabled increasingly complex performances. As a result, creating the contemporary ESC requires using creative and technical personnel across national borders, and many of the same television professionals and companies participate in the production year after year. Moreover, successful stage directors work transnationally, designing Eurovision performances for different countries. Thus, the ESC participates in a wider turn towards transnational production in European television culture. The transnational field of ESC production is not without hierarchies, as Northern Europe plays a central role in the development of the contest, thanks to strong input from Swedish television SVT and Swedish television professionals in particular.Keywords: Eurovision Song Contest, television aesthetics, television production, spectacle, transnational

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Transnational co-production, multiplatform television and My Brilliant Friend

Cited by 23 publications

References 13 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

The ‘youthification’ of television

Laulukilpailusta show-kilpailuksi?

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