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This book offers a comparative study of historical television
genres in Europe, with a special focus on Germany and Great Britain
and their way of narrating twentieth century European history. The
book analyses our common European past and memory through central
historical television narratives. Each chapter looks at how
historical TV genres, fictional and documentary, have dealt with
the most salient and defining periods, events and changes in the
twentieth century- an age of extremes. Bondebjerg offers unique
theoretical and analytical insight into the role of television in
mediating and shaping the past. The book explores television's
creation of transnational cultural encounters across Europe in
relation to our common and national past. The book addresses how
television has influenced our understanding of history, collective
memory and public debate over the twentieth century. It is
fundamentally a book about the importance of the past in present
day Europe and the centrality of media for transnational
understanding.
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.
Media, Democracy and European Culture presents some of the most
recent, cutting edge research on Europe, from social, political and
cultural perspectives, equally focusing on each dimension of
democracy in Europe. The role of the media, communication policy
and the question of how the media report on Europe runs as a thread
through all contributions. The book is interdisciplinary and
international. It brings together researchers from many countries
and from humanities, social sciences and law. The articles combine
the discussion of central theories and theoretical concepts for the
understanding of media, democracy and European culture with
empirical data and comparative analytical studies of media culture
and democracy across Europe. The book is written by some of the
most prominent European Scholars in media, political science,
sociology and cultural studies.
Profiling the canonized figures alongside recently-established
filmmakers, this collection features interviews with Lars von
Trier, Søren Kragh-Jacobsen, Thomas Vinterberg and Henning Carlsen
among many others. It poses questions that engage with ongoing and
controversial issues within film studies, which will stimulate
debate in academic and filmgoing circles alike. Each interview is
preceded by a photograph of the director, biographical information,
and a filmography. Frame enlargements are used throughout to help
clarify particular points of discussion and the book as a whole is
contextualised by an informative general introduction. A valuable
addition to the growing library of books on Scandinavian film,
national cinema and minority cinema.
We are witnessing a dynamic reshaping of the European 'mediascape'.
This has been underway for more than a decade since the fall of the
Berlin wall in 1989, the growing impact of globalisation, and the
birth of new technologies and new media, or the convergence between
old and new media. A new and more intense 'mediatisation' of
society and everyday life is emerging. This is happening alongside
the rapid reconstruction of the cultural and economic landscape of
Europe itself. In this transformation the communicative and
ideological dimensions, the digitalisation of technology, and
changes in culture - 'the imaginary', the discursive universe of
politics and communication, are all crucial areas for research. The
cultural industries, (film, television, books, magazines,
entertainment and music), but also the world of news, actuality,
'infotainment' and the internet, are key areas for the study of
what we may begin to understand as a changing European culture in
all its complexity and with all its differences and conflicts. The
media and the cultural industries are among the fastest growing
sectors in the global economy.
Profiling the canonized figures alongside recently-established
filmmakers, this collection features interviews with Lars von
Trier, Soren Kragh-Jacobsen, Thomas Vinterberg and Henning Carlsen
among many others. It poses questions that engage with ongoing and
controversial issues within film studies, which will stimulate
debate in academic and filmgoing circles alike. Each interview is
preceded by a photograph of the director, biographical information,
and a filmography. Frame enlargements are used throughout to help
clarify particular points of discussion and the book as a whole is
contextualised by an informative general introduction. A valuable
addition to the growing library of books on Scandinavian film,
national cinema and minority cinema.
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