Key International Markets: Distribution and Consumption of Danish TV Drama Series in Germany and the UK

Eichner, Susanne; Esser, Andrea

doi:10.1007/978-3-030-40798-8_10

Cited by 8 publications

(15 citation statements)

References 20 publications

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“…Transnationalisation also employs a form of content circulation that is much more complex, dynamic and multidimensional than the established national approach (Eichner and Esser, 2020: 189), which may overlook the complex interplay between technology, market structures, media policies, broadcaster performance, programme strategies and audience dynamics (p. 203). The concept of ‘travelling television drama’ is defined in close connection to theories of globalisation and mediatization (Waade et al, 2020: 5).…”

Section: Transnational Television: the Space Betweenmentioning

confidence: 99%

Transnationalisation revisited through the Netflix Original: An analysis of investment strategies in Europe

Iordache

Raats²,

Afilipoaie

2021

Convergence

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Players in the European market have developed a series of transnational collaborations and practices in the cross-border production and distribution of audio-visual content, media ownership, regulation and audience reception. Transnational subscription video-on-demand platforms have also visibly increased their investments in original content, in their attempt to expand and maintain their international subscriber bases. Among them, Netflix has been particularly active in investing in European markets. This article traces the evolution of Netflix investments in European original scripted series produced between 2012 and 2020 and analyses the platform’s investment strategies in European markets through the lens of transnational television theory. The findings point to various elements of transnationalisation, placing European originals at the intersection between local and global, through market dynamics, strategic collaborations and content with transnational appeal. The findings also confirm the growing importance of rights retention and premium content offerings through the increase of big-budget commissions, particularly in developed European markets.

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Section: Transnational Television: the Space Betweenmentioning

confidence: 99%

Transnationalisation revisited through the Netflix Original: An analysis of investment strategies in Europe

Iordache

Raats²,

Afilipoaie

2021

Convergence

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“…In this article, by employing an ethnographic approach, I investigated the interpretations and engagement of a niche audience with TV dramas from a periphery country, Denmark. Although in Denmark, Germany, and the United Kingdom, mainstream audiences consumed Danish dramas (Eichner and Esser 2020; Waade et al 2020) they were not popular among mass Turkish audiences. Therefore, the data and the analysis do not ruminate as a totalizing argument and a homogeneous category granting all television audiences in Turkey.…”

Section: Discussionmentioning

confidence: 99%

Nationalization of Spatiotemporal Artifacts: National Chronotope, Authenticity, and Local Colors in Danish TV Dramas

Kaptan

2023

Television & New Media

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This article investigates the conceptualization of spatiality and temporality in television drama series in the age of extensive digital media consumption by focusing on Turkish audiences’ reception of Danish TV dramas. Based on the empirical data collected through extended fieldwork in Turkey, and relying on Bakhtin’s concept of chronotope (spacetime), I analyze how research participants negotiate socio-geographical features, as well as both spatial and temporal textual representations signifying Danish culture and society by delineating “authenticity” and “local color” to distinct spatiotemporal cues in Danish TV drama series. This study reveals that by critically articulating notions of authenticity and local color as distinguishing markers of a particular spacetime, Turkish audiences employ these concepts as strategies to define “national chronotope” which provides a middle ground for reconciliation between the facticity of the geographical place and mediated images of space, as well as factuality of time and local temporalities on screen.

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“…For instance, scholars find that audiences from Turkey and Australia find domestic dramas inferior to Danish TV dramas, largely due to the perceived progressive society in Denmark (Jensen & McCutcheon, 2020;Kaptan, 2020). In another approach, Eichner (2020) found that the audience's feelings of authenticity to Danish TV dramas are less to do with cultural proximity (Straubhaar & La Palestina, 2007). Instead, they find the address of media and politics, women's empowerment, and struggles within family and careers in Danish TV dramas relatable to their lifeworld (Rasmussen, 2014;Eichner, 2020).…”

mentioning

confidence: 99%

“…In another approach, Eichner (2020) found that the audience's feelings of authenticity to Danish TV dramas are less to do with cultural proximity (Straubhaar & La Palestina, 2007). Instead, they find the address of media and politics, women's empowerment, and struggles within family and careers in Danish TV dramas relatable to their lifeworld (Rasmussen, 2014;Eichner, 2020). The notion of lifeworld refers to the perceived reality of the world, and the sense-making process is built on the everyday life experiences of the individuals (Rasmussen, 2014;Eichner, 2020).…”

mentioning

confidence: 99%

“…Instead, they find the address of media and politics, women's empowerment, and struggles within family and careers in Danish TV dramas relatable to their lifeworld (Rasmussen, 2014;Eichner, 2020). The notion of lifeworld refers to the perceived reality of the world, and the sense-making process is built on the everyday life experiences of the individuals (Rasmussen, 2014;Eichner, 2020). Esser (2020) adds to Eichner's arguments from a cognitive science approach and globalisation theory, suggesting that globalisation has contributed to place-specific languages, people, sounds and landscapes have added to Danish TV dramas' appeals to audiences outside of Denmark.…”

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confidence: 99%

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Digital Mobility and Cultural Consumption: Online Reception of Contemporary British Television Dramas in China

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This thesis investigates the popularity and audience engagement of British TV dramas in China, as this represents a massive and continuous trend among Chinese audiences online since 2010. Based on multi-modal methods combining digital ethnographic methods, interviews and a case study, this thesis has examined the consumption of British TV dramas in its situated social-political context that is largely overlooked in the study of transnational TV dramas in China. The theoretical framework draws on cosmopolitan, Bourdieu’s concepts of capital and taste, and Cultivation theory. It studies the consumption of foreign AV content in a digital setting in the current media-restrained Chinese society. The implications of this study are fourfold: First, taste hierarchy as a means of social distinction is observed in the consumption of British TV dramas in China, as watching British TV dramas is perceived as a reputational badge of sophistication, taste and high-end. Second, findings show an association between digital/virtual mobility, social distinction and transnational TV drama consumption in China, as increasing media policies and censorship has determined how foreign content is consumed. Third, the consumption of British TV dramas shows the desire of the Chinese audience to keep a connection with the world culture in a gradually restricted media environment. Fourth, British TV dramas satisfy audiences’ growing need for cultural materials to identify with their micro-political struggles of everyday life. In particular, the queer readings of British TV dramas in China have promoted LGBTQ culture in China to a certain extent. The findings in this thesis indicate its significant value for the Chinese LGBTQ community.

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Key International Markets: Distribution and Consumption of Danish TV Drama Series in Germany and the UK

Cited by 8 publications

References 20 publications

Transnationalisation revisited through the Netflix Original: An analysis of investment strategies in Europe

Transnationalisation revisited through the Netflix Original: An analysis of investment strategies in Europe

Nationalization of Spatiotemporal Artifacts: National Chronotope, Authenticity, and Local Colors in Danish TV Dramas

Digital Mobility and Cultural Consumption: Online Reception of Contemporary British Television Dramas in China

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