This book explores how to understand the international appeal of
Danish television drama and Nordic Noir in the 2010s. Focusing on
production and distribution as well as the series and their
reception, the chapters analyse how this small nation production
culture was suddenly regarded as an example of best practice in the
international television industries, and how the distribution and
branding of particular series - such as Forbrydelsen/The Killing,
Borgen and Bron/The Bridge - led to dedicated audiences around the
world. Discussing issues such as cultural proximity,
transnationalism and glocalisation, the chapters investigate the
complex interplays between the national and international in the
television industries and the global lessons learned from the way
in which screen ideas, production frameworks and public service
content from Denmark suddenly managed to travel widely. The book
builds on extensive empirical material and case studies conducted
as part of the transnational research project 'What Makes Danish
Television Drama Travel?'
General
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