This volume offers an up-to-date analysis of film and television co-production in Europe. It brings together the voices of policy professionals, industry practitioners and media industry scholars to trace the contours of a complex practice that is of increasing significance in the global media landscape. Analysis of the latest production statistics sits alongside interviews with producers and the critical evaluation of public film policies. The volume incorporates contributions from representatives of major public institutions-Eurimages, the European Audiovisual Observatory and the European Commission-and private production companies including the pan-European Zentropa Group. Policy issues are elucidated through case studies including the Oscar-winning feature film Ida, the BAFTA-winning I am not a Witch and the Danish television serial Ride Upon the Storm. Scholarly articles span co-development, co-distribution and regional cinemas as well as emerging policy challenges such as the digital single market. The combination of qualitative and quantitative approaches, and the juxtaposition of industry and scholarly voices, provides a unique perspective on European co-production that is information-rich, complex and stimulating, making this volume a valuable companion for students, scholars, and industry professionals.

This book deals with the role of television drama in Europe as enabler of transnational, cultural encounters for audiences and the creative community. It demonstrates that the diversity of national cultures is a challenge for European TV drama but also a potential richness and source of creative variation. Based on data on the production, distribution and reception of recent TV drama from several European countries, the book presents a new picture of the transnational European television culture. The authors analyse main tendencies in television policy and challenges for national broadcasters coming from new global streaming services. Comparing cases of historical, contemporary and crime drama from several countries, this study shows the importance of creative co-production and transnational mediated cultural encounters between national cultures of Europe.

This book offers comparative studies of the production, content, distribution and reception of film and television drama in Europe. The collection brings together scholars from the humanities and social sciences to focus on how new developments are shaped by national and European policies and practices, and on the role of film and television in our everyday lives. The chapters explore key trends in transnational European film and television fiction, addressing issues of co-production and collaboration, and of how cultural products circulate across national borders. The chapters investigate how watching film and television from neighbouring countries can be regarded as a special kind of cultural encounter with the possibility of facilitating reflections on national differences within Europe and negotiations of what characterizes a national or a European identity respectively.

This book deals with the role of television drama in Europe as enabler of transnational, cultural encounters for audiences and the creative community. It demonstrates that the diversity of national cultures is a challenge for European TV drama but also a potential richness and source of creative variation. Based on data on the production, distribution and reception of recent TV drama from several European countries, the book presents a new picture of the transnational European television culture. The authors analyse main tendencies in television policy and challenges for national broadcasters coming from new global streaming services. Comparing cases of historical, contemporary and crime drama from several countries, this study shows the importance of creative co-production and transnational mediated cultural encounters between national cultures of Europe.

This book offers comparative studies of the production, content, distribution and reception of film and television drama in Europe. The collection brings together scholars from the humanities and social sciences to focus on how new developments are shaped by national and European policies and practices, and on the role of film and television in our everyday lives. The chapters explore key trends in transnational European film and television fiction, addressing issues of co-production and collaboration, and of how cultural products circulate across national borders. The chapters investigate how watching film and television from neighbouring countries can be regarded as a special kind of cultural encounter with the possibility of facilitating reflections on national differences within Europe and negotiations of what characterizes a national or a European identity respectively.

Offering unique insights into the writing and production of television drama series such as The Killing and Borgen, produced by DR, the Danish Broadcasting Corporation, Novrup Redvall explores the creative collaborations in writers' rooms and 'production hotels' through detailed case studies of Denmark's public service production culture.

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?'

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?'

Over the last two decades or so, the New Danish Cinema has established itself as an important source of cinematic renewal and innovation, and as a model for how small, minor or peripheral cinemas can survive in an industry dominated by Global Hollywood. Following in the footsteps of critically-acclaimed "The Danish Directors" (also published by Intellect), "The Danish Directors 2" provides a practitioner's perspective on the social, cultural, and economic milieus in which Danish film-makers have been able to develop their practice, and to thrive.
With insider information about the making, marketing and distribution of award-winning films, and interviews with seminal directors such as Anders Thomas Jensen, Annette K. Olesen, and Lone Scherfig, "The Danish Directors 2" allows readers entry into what might seem to be a forbidding body of work. The editors are knowledgeable and sensitive interrogators, and their appreciation of the specific qualities of each director's work elicits thoughtful replies. This volume will appeal to students, scholars, and cinephiles alike.