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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.
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Paperback
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R398
R330
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