International Co-production of Nordic Television Drama: The Case of Ride Upon the Storm
The production of high-end series is expensive and with limited national audiences in the Nordic countries only the licence-fee financed public service broadcasters have traditionally ventured into television drama in the Nordic languages. In the mid 2010s, this started changing, partly because of the international outreach and sales of serials such as Forbrydelsen/The Killing (2007–2012) and Borgen (2010–2013). This development incited new players to move into the television drama arena and brought about a new focus on international co-production in the Nordic television landscape. This chapter explores some of these recent changes through a qualitative case study of the Danish-French co-production set-up behind the high-end drama serial Herrens veje/Ride Upon the Storm (2017–), focusing on the perceptions of strengths and challenges as well as questions of creative control in this particular set-up among the Danish partners (The Danish Broadcasting Corporation (DR) and SAM Productions).
- Bondebjerg, Ib, and Eva N. Redvall. 2011. A Small Region in a Global North: Patterns in Scandinavian Film & TV Culture. Copenhagen: Think Tank on European Film and Film Policy.Google Scholar
- Bondebjerg, Ib, Eva N. Redvall, and Andrew Higson, eds. 2015. European Cinema and Television: Cultural Policy and Everyday Life. Basingstoke: Palgrave Macmillan.Google Scholar
- Bruun, Hanne. 2014. Eksklusive informanter: Om interviewet som redskab i produktionsanalysen. Nordicom 36 (1): 29–43.Google Scholar
- European Broadcasting Union (EBU). 2015. The Team: Public Service Collaboration Shows the Way Forward for Captivating ‘European’ TV Series. Press release, January 28. http://www3.ebu.ch/contents/news/2015/01/the-team-public-service-media-co.html.
- Hilmes, Michele. 2011. Network Nations: A Transnational History of American and British Broadcasting. London and New York: Routledge.Google Scholar
- Hopewell, John. 2017. SAM Unveils “Ride Upon the Storm” as Adam Price and Team Eye English-Language TV. Variety.com, April 2. http://variety.com/2017/tv/global/sam-ride-upon-storm-eyes-english-language-tv-1202021080/.
- Jensen, Klaus Bruhn. 2002. A Handbook of Media and Communication Research. London: Routledge.Google Scholar
- Jensen, Pia Majbritt, Jakob Isak Nielsen, and Anne Marit Waade. 2016. When Public Service Television Drama Travels: The Internationalisation of Danish Television Drama and the Associated Production Funding Models. Journal of Popular Television 4 (1): 91–108.Google Scholar
- Nordstrøm, Pernille. 2004. Fra Riget til Bella. Copenhagen: DR.Google Scholar
- Nordvision. 2017. Årsrapport 2017–2018. Copenhagen: Nordvision.Google Scholar
- Pham, Annika. 2017. It Takes Courage to Have Faith. Nordisk Film & TV Fond. http://www.nordiskfilmogtvfond.com/news/interview/it-takes-courage-to-have-faith.
- Scoffier, Axel. 2014. Co-production in Europe, Economic Solution or Artistic Choice? www.Cineropa.org, March 19. http://cineuropa.org/dd.aspx?t=dossier&l=en&tid=1364&did=253854#cl.
- Stake, Robert. 2000. Case Studies. In Handbook of Qualitative Research, ed. Norman K. Denzin and Yvonna S. Lincoln. Thousand Oaks, CA: Sage.Google Scholar
- ———. 2007. World Television: From Global to Local. Thousand Oaks, CA: Sage.Google Scholar
- Yates, Chris. 2017. Exploring the ‘Real’ History of Denmark with Ride Upon the Storm. Sbs.com, December 15. https://www.sbs.com.au/guide/article/2017/12/07/exploring-real-history-denmark-ride-upon-storm.