Advertisement

Funding Models and Increasing Transnationalism

Chapter
Part of the Palgrave European Film and Media Studies book series (PEFMS)

Abstract

The authors give an outline of how local, national, regional and transnational cooperation has been an increasing Nordic tendency since the 1990s, but also how the traces of such local/global processes in television studies have deeper roots in visions of television as a private, glocal medium. They outline specific, different tendencies across the Nordic region and view the theoretical and historical backgrounds of places and locations in television drama from the perspective of glocalisation. The authors give an account of the funding models applying to television drama production cultures in the Nordic region. Finally, they give examples of how methods of collaboration, co-funding and co-production in Nordic Noir productions across the Nordic region in particular show clear signs of the increasing transnationalisation of television drama.

References

  1. Agger, Gunhild. 2016. The Development of Transnationality in Danish Noir—From Unit One to The Team. Northern Lights 14 (1): 83–101.Google Scholar
  2. Athique, Adrian. 2016. Transnational Audiences. Media Reception on a Global Scale. Cambridge: Polity Press.Google Scholar
  3. Bondebjerg, Ib. 2005. The Danish Way. Danish Film Culture in a European and Global Perspective. In Transnational Cinema in the Global North. Nordic Cinema in Transition, ed. Andrew Nestingen and Trevor Elkington, 111–41. Detroit: Wayne State University Press.Google Scholar
  4. Bondebjerg, Ib and Eva Novrup Redvall. 2011. A Small Region on a Global World. Patterns in Scandinavian Film and TV Culture. Working paper. http://cemes.ku.dk/research/research_literature/workingpapers/scandinavian_cinema-final_lrl_.pdf. Accessed 17 Feb 2017.
  5. Bondebjerg, Ib and Eva Novrup Redvall. 2015. Breaking Borders: The International Success of Danish Television Drama. In European Cinema and Television: Cultural Policy and Everyday Life, ed. Ib Bondebjerg, Eva Novrup Redvall and Andrew Higson, 214–38. New York: Palgrave Macmillan.Google Scholar
  6. Bondebjerg, Ib. 2016. Transnational Europe: TV-drama, Co-production Networks and Mediated Cultural Encounters. Palgrave Communications 2: 1–13.Google Scholar
  7. Brandstrup, Pil G., and Eva N. Redvall 2005. Breaking the Borders. Danish Coproductions in the 1990s. In Transnational Cinema in the Global North. Nordic Cinema in Transition, ed. Andrew Nestingen and Trevor Elkington, 141–64. Detroit: Wayne State University Press.Google Scholar
  8. Brodén, Daniel. 2008. Folkhemmets skuggbilder. En kulturanalytisk genrestudie av svensk kriminalfiktion i film och tv. Ekerö: Ekholm and Tegebjer Förlags AB.Google Scholar
  9. Chalaby, Jean. 2004. Transnational Television Worldwide. Towards a New Media Order. London: I.B. Tauris.Google Scholar
  10. Chalaby, Jean. 2009. Transnational Television in Europe. Reconfiguring Global Communication Networks. London: I.B. Tauris.Google Scholar
  11. Chalaby, Jean. 2016. The Format Age. Television’s Entertainment Revolution. Malden: Polity Press.Google Scholar
  12. Dhoest, Alexander. 2011. When Regional Becomes National: The Production and Reception of Flemish TV Drama in a Culturally Divided Country. Critical Studies in Television 6(2): 13–23.Google Scholar
  13. Eichner, Susanne and Anne Marit Waade. 2015. Local Colour in Danish and German Crime Series. Journal of Global Media 5 (1): 1–20. German Edition.Google Scholar
  14. Eichner, Susanne and Pia Maibritt Jensen. 2016. This World Is so in Turmoil Right Now That People Sometimes are Afraid if the Scandinavian Noir is too Noir. Interview with Susanne Müller (ZDF) and Volker Lehmann (ZDFE), June 24, 2016.Working paper.Google Scholar
  15. Esser, Andrea. 2002. The Transnationalization of European Television. Journal of European Area Studies 10 (1): 13–29.Google Scholar
  16. Film Commission Norway. 2016. Location Library. Accessed 27 Oct 2016. http://norwegianfilm.com/index.php/en/location-library.
  17. Hall, Stuart. 1992. The Question of Cultural Identity. In Modernity and its Futures, ed. Stuart Hall, David Held and Anthony McGrew, 274–325. Cambridge: Polity Press.Google Scholar
  18. Hannerz, Ulf. 1996. Transcultural Connections: Culture, People, Places. New York: Routledge.Google Scholar
  19. Harrington, Lee C. and Denise D. Bielby. 2005. Global Television Distribution. Implications of TV ‘Travelling’ for Viewers, Fans, and Texts. American Behavioral Scientist 48 (7): 902–920.Google Scholar
  20. Hedling, Olof. 2010. Murder, Mystery and Megabucks. In Regional Aesthetics: Locating Swedish Media, ed. Erik Hedling, Olof Hedling and Mats Jönsson, 263–290. Stockholm: Royal Library of Sweden.Google Scholar
  21. Hilmes, Michele. 2014. Transnational TV. What Do We Mean by ‘Coproduction’ Anymore? Media Industries 1 (2): 10–14.Google Scholar
  22. Jensen, Pia Majbritt, Jakob Isak Nielsen and Anne Marit Waade. 2016. When Public Service Drama Travels: The Internationalization of Danish Television Drama and the Associated Production Funding Models. Journal of Popular Television 4 (1): 91–108.Google Scholar
  23. Liz, Mariana. 2014. From European Co-Productions to the Euro-Pudding. In The Europeanness of European Cinema. Identity, Meaning, Globalization, ed. Mary Harrod, Mariana Liz and Alissa Timoshkina, 73–85. New York: I.B. Tauris.Google Scholar
  24. McElroy, Ruth and Caitriona Noonan. 2016. Television Drama Production in Small Nations: Mobilities in a Changing Ecology. Journal of Popular Television 4 (1): 109–127.Google Scholar
  25. McQuail, Denis. 1995. Western European Media: The Mixed Model Under Threat. In Questioning the Media: A Critical Introduction, ed. John Downing, Ali Mohammedi and Annabelle Sreberny, 147–164. London: Sage.Google Scholar
  26. Meyrowitz, Joshua. 1985. No Sense of Place. The Impact of Electronic Media on Social Behavior. Oxford: Oxford University Press.Google Scholar
  27. Moores, Shaun. 1993. Television, Geography and “Mobile Privatization”. European Journal of Communication 8: 365–379.Google Scholar
  28. Morley, David. 1991. Where the Global Meets the Local: Notes from the Sitting Room. Screen, 32 (1): 1–15.Google Scholar
  29. Norwegian Film Institute. 2011. Film Commission Norway. Accessed 24 Jan 2017. http://www.nfi.no/bransje/utvikling-produksjon-og-lansering/filmkommisjon.
  30. Norwegian Film Institute. 2015. Norske filmsentre. Accessed 27 Oct 2016. http://www.nfi.no/bransje/andre/filmsentre.
  31. Oresund Film Commissioner. 2016. Location Database. Accessed 27 Oct 2016. http://www.oresundfilm.com/location_database/.
  32. Rank, Christian. 2016. Interview with Christian Rank, conducted by Kim Toft Hansen, Anne Marit Waade and Vilde S. Sundet. October 31.Google Scholar
  33. Rasmussen, Ene Katrine. 2016. Skype-interview with Ene Katrine Rasmussen, conducted by Kim Toft Hansen and Anne Marit Waade. November 23.Google Scholar
  34. Robertson, Roland. 1995. Glocalisation: Time-space and Homogeneity-Heterogeneity. In Global Modernities, ed. by Mike Featherstone, Scott Lash and Roland Robertson, 25–44. London: Sage Publications.Google Scholar
  35. Robertson, Roland. 2012. Globalisation or Glocalisation? The Journal of International Communication 18 (2): 191–205.Google Scholar
  36. Robins, Kevin. 1989. Reimagined Communities? European Image Spaces, Beyond Fordism. Cultural Studies 3 (2): 145–165.Google Scholar
  37. Robins, Kevin. 1991. Tradition and Translation: National Culture in Its Global Context. In Enterprise and Heritage: Crosscurrents of National Culture, ed. John Corner and Sylvia Harvey, 21–44. London: Routledge.Google Scholar
  38. Scherer, Stefan and Claudia Stockinger. 2010. Accessed 17 Feb 2017. Tatorte. Eine Typologie zum Realismus des Raums in der ARD-Reihe Tatort und ihre Umsetzung am Beispiel Münchens. http://www.iaslonline.de/index.php?vorgang_id=3166.
  39. Stougaard-Nielsen, Jakob. 2016. Criminal Logistics. Globalization, Containerization and Tragedy in Scandinavian Crime Fiction. Journal of World Literature 1 (4): 519–537.Google Scholar
  40. Syvertsen, Trine and Eli Skogerbø. 1998. Scandinavia, Netherlands, and Belgium. In Television. An International History, ed. Anthony Smith and Richard Patersen, 223–233. Oxford: Oxford University Press.Google Scholar
  41. Tapper, Michael. 2014. Swedish Cops: From Sjöwall and Wahlöö to Stieg Larsson. Bristol: Intellect.Google Scholar
  42. Vogelsang, Katrine. 2015. Interview with Katrine Vogelsang, Head of Fiction, November 4, conducted by Kim Toft Hansen.Google Scholar
  43. Weissman, Elke. 2012. Transnational Television Drama. Special Relations and Mutual Influence between the US and UK. Basingstoke: Palgrave Macmillan.Google Scholar
  44. Williams, Raymond. 2003. Television. Abingdon: Routledge Classics. First published 1974.Google Scholar

Copyright information

© The Author(s) 2017

Authors and Affiliations

  1. 1.Institute of Culture and Global StudiesAalborg UniversityAalborgDenmark
  2. 2.Aarhus UniversityAarhusDenmark

Personalised recommendations