Transnational Television Drama? Lessons Learned from Danish Drama

Waade, Anne Marit; Redvall, Eva Novrup; Jensen, Pia Majbritt

doi:10.1007/978-3-030-40798-8_1

Cited by 8 publications

(4 citation statements)

References 26 publications

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“…Transnationalisation also employs a form of content circulation that is much more complex, dynamic and multidimensional than the established national approach (Eichner and Esser, 2020: 189), which may overlook the complex interplay between technology, market structures, media policies, broadcaster performance, programme strategies and audience dynamics (p. 203). The concept of ‘travelling television drama’ is defined in close connection to theories of globalisation and mediatization (Waade et al, 2020: 5). Alongside production and distribution, the transnationalisation of audiences is just as relevant.…”

Section: Transnational Television: the Space Betweenmentioning

confidence: 99%

“…Alongside production and distribution, the transnationalisation of audiences is just as relevant. Numerous studies on the successful export of European television drama, particularly Nordic Noir (see Bondebjerg et al, 2017; McElroy and Noonan, 2019; Redvall, 2013) have called for a rethinking of audience reception, beyond established discussions of power dynamics and elements of cultural proximity (McElroy, 2020; Waade et al, 2020). To this end, established cultural values are challenged, inviting new definitions of ‘otherness’ through the consumption of foreign content (Bondebjerg, 2020; Jensen and Jacobsen, 2020).…”

Section: Transnational Television: the Space Betweenmentioning

confidence: 99%

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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%

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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show abstract

“…In this article, by employing an ethnographic approach, I investigated the interpretations and engagement of a niche audience with TV dramas from a periphery country, Denmark. Although in Denmark, Germany, and the United Kingdom, mainstream audiences consumed Danish dramas (Eichner and Esser 2020; Waade et al 2020) they were not popular among mass Turkish audiences. Therefore, the data and the analysis do not ruminate as a totalizing argument and a homogeneous category granting all television audiences in Turkey.…”

Section: Discussionmentioning

confidence: 99%

Nationalization of Spatiotemporal Artifacts: National Chronotope, Authenticity, and Local Colors in Danish TV Dramas

Kaptan

2023

Television & New Media

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This article investigates the conceptualization of spatiality and temporality in television drama series in the age of extensive digital media consumption by focusing on Turkish audiences’ reception of Danish TV dramas. Based on the empirical data collected through extended fieldwork in Turkey, and relying on Bakhtin’s concept of chronotope (spacetime), I analyze how research participants negotiate socio-geographical features, as well as both spatial and temporal textual representations signifying Danish culture and society by delineating “authenticity” and “local color” to distinct spatiotemporal cues in Danish TV drama series. This study reveals that by critically articulating notions of authenticity and local color as distinguishing markers of a particular spacetime, Turkish audiences employ these concepts as strategies to define “national chronotope” which provides a middle ground for reconciliation between the facticity of the geographical place and mediated images of space, as well as factuality of time and local temporalities on screen.

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“…However, in recent years, the proliferation of global, regional and domestic Video-on-Demand (VoD) services has allowed a significant inter-continental circulation of crime content from more European countries and in languages other than English. One such example is the subgenre of Nordic Noir that in the past 15 years has gone from strength to strength around the world, including Europe, with titles such as Trapped (RÚV 2015–), Bron/Broen (SVT/DR 2011–2018) and Forbrydelsen (DR 2008–2012) (Bondebjerg and Redvall, 2014; Hill and Turnbull, 2016; Jensen and Jacobsen, 2020; Waade et al, 2020). Other examples are the Spanish series La Casa de Papel (Antena 3/Netflix, 2017–) and the Italian Suburra: La serie (Netflix, 2017), both of which swept the continent, resulting in dedicated viewership in countries with no previous tradition of Spanish or Italian content (Pagello and Schleich, 2020).…”

Section: Investigating the Role Of Crime Drama In Audiences’ Percepti...mentioning

confidence: 99%

Audiences of popular European television crime drama: A nine-country study on consumption patterns, attitudes and drivers of transcultural connection

Bengesser

Rosa

Jensen

et al. 2022

European Journal of Communication

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This article presents findings of a mixed-methods audience study on consumption patterns and attitudes towards European television crime narratives among European viewers. Based on semi-structured interviews in Denmark, Germany and Italy, and a nine-country online survey (n1321), we asked how, when, where and why European audiences watch crime series, and whether watching non-domestic European crime narratives influences perceptions of the European ‘Other’. Our findings reveal preferences for Anglo-American content, combined with a criticality towards domestic content often perceived as stereotyped. While stereotypes and personal and previous non-mediated encounters draw viewers to European content, they do not necessarily challenge viewers’ perceptions of the European ‘Other’. It does, however, enable critical reflection on viewers’ domestic societies and TV cultures, leading to a process of banal cosmopolitanism.

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Transnational Television Drama? Lessons Learned from Danish Drama

Cited by 8 publications

References 26 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

Nationalization of Spatiotemporal Artifacts: National Chronotope, Authenticity, and Local Colors in Danish TV Dramas

Audiences of popular European television crime drama: A nine-country study on consumption patterns, attitudes and drivers of transcultural connection

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