Eva Novrup Redvall – författare

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.

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.

Emphasizing the new documentary cinema, this book features film-makers who belong to the generation born in the 1970s. Many of the interviewees were trained at the National Film School of Denmark’s now legendary Department of Documentary and Television. The term ‘new’ also captures tendencies that cut across the work of the film-makers. For example, for the generation in question, internationalization and the development of a new digital media culture are inevitable aspects of everyday life, and, indeed, of the professional environments in which they operate. A comprehensive overview of documentary directors currently working in Denmark, this is the only book of its kind about this growing area of Danish cinema.

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?’

This book offers a comprehensive analysis of the writing and production strategies used in live-action fiction film and television produced for children and young audiences, in a period marked by remarkable change in screen consumption.

This book offers a comprehensive analysis of the writing and production strategies used in live-action fiction film and television produced for children and young audiences, in a period marked by remarkable change in screen consumption. Building on ideas and research from the fields of screenwriting, production, and media industry studies, the book uses case studies of Danish film and television productions targeting children – from toddlers to teenagers – to explore general challenges for reaching young audiences in the multiplatform mediascape, as well as to identify specific screenwriting practices and production frameworks. The study investigates industry notions of children and adolescents as a particular audience, exploring  new methods of grounding productions for them through more inquiry-driven and co-creative writing and production practices, combined with new forms of knowledge-sharing and talent-training initiatives.

This book deals with the role of television drama in Europe as enabler of transnational, cultural encounters for audiences and the creative community. 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.

This book deals with the role of television drama in Europe as enabler of transnational, cultural encounters for audiences and the creative community. 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 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.

Scandinavian children and adolescents’ media consumption has changed dramatically in the past decade. Films, series, and social media content on global platforms like Netflix, Disney+, and YouTube are now a major part of young people’s media diet, while encounters with domestic films, series, and platforms are in decline, severely challenging the ways domestic players think about young audiences. The contributions in this book explore these recent developments in the production, distribution, as well as reception of fictional content for children and adolescent audiences in the thoroughly digitalised and transnationalised Scandinavian countries. Using qualitative and quantitative methods, such as interviews, case studies, textual analyses, and surveys, the contributors present recent studies on how commissioners and producers develop children’s content in the highly competitive, professionalised, and digitalised media environment, and on how children think about Scandinavian vis-à-vis global content. Collectively, the book offers readers new knowledge on how Scandinavian media distributors, producers, and creatives – and their young audiences – act in the face of this new reality. This book is relevant for scholars, students, and industry professionals with an interest in children and adolescents, culture, and media.