Transnational TV: What Do We Mean by “Coproduction” Anymore?

Hilmes, Michele

doi:10.3998/mij.15031809.0001.203

Cited by 24 publications

(22 citation statements)

References 3 publications

(1 reference statement)

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“…However, with the increasing transnationalisation in the production, distribution and consumption of televisual entertainment, calls for revisions of the above concepts and theories are likely to grow. For a start we should support the assertion that today's high production value TV drama should be seen as transnational rather than national (Agger, CST 12 : 4 : ESSER : 19 2016;Esser, 2015;Hilmes, 2014;Nielsen, 2016;Weismann, 2012). Following on from this I would like to propose that trade of this type of TV fiction, too, should no longer be described as international (i.e.…”

Section: Audience Discourse On Platform and Formmentioning

confidence: 93%

“…This makes Danish TV drama more appealing internationally. It also means that Danish TV drama, despite appearancesdespite the Danish locations, actors and production personnel-should be seen as transnational rather than national (Agger, 2015(Agger, , 2016Nielsen, 2016;cf Esser, 2015;Hilmes, 2014;Weissmann, 2012).…”

Section: Form and The Transnational Appeal Of Danish Tv Drama Seriesmentioning

confidence: 99%

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Form, platform and the formation of transnational audiences

Esser

2017

Critical Studies in Television

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This article combines analysis of form, platform and audiences for a holistic understanding of how Danish series entered the global trade in TV fiction. Building on existing research on form and production values it adds a wide-ranging empirical case study, exploring the specific local conditions that led to the introduction of Danish series in the UK in 2011 and subsequent growth in UK audiences for Danish and other subtitled TV series. It reveals the multiplicity of factors contributing to the success of the early Danish serial imports, the interdependence of form, platform and audiences, and the imperative to rethink dominant theories of international programme flows.

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Section: Audience Discourse On Platform and Formmentioning

confidence: 93%

Section: Form and The Transnational Appeal Of Danish Tv Drama Seriesmentioning

confidence: 99%

Form, platform and the formation of transnational audiences

Esser

2017

Critical Studies in Television

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“…Given the increasing focus onto narrowcasting and developing a loyal audience as well as the "new normal" (Hilmes, 2014) of global co-productions, the interaction of these two capitals are likely to continue to be relevant in regards to whether a given series is "adopted" by a country or countries, or perceived as an epic fail.…”

Section: Resultsmentioning

confidence: 99%

“My” Hero or Epic Fail? Torchwood as Transnational Telefantasy

Beattie¹

2017

Pacla

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Telefantasy series Torchwood (2006-2011, multiple production partners) was industrially and paratextually positioned as being Welsh, despite its frequent status as an international co-production. When, for series 4 (subtitled Miracle Day, much as the miniseries produced as series 3 was subtitled Children of Earth), the production (and diegesis) moved primarily to the United States as a co-production between BBC Worldwide and American premium cable broadcaster Starz, fan response was negative from the announcement, with the series being termed Americanised in popular and academic discourse. This study, drawn from my doctoral research, which interrogates all of these assumptions via textual, industrial/contextual and audience analysis focusing upon ideological, aesthetic and interpretations of national identity representation, focuses upon the interactions between fan cultural capital and national cultural capital and how those interactions impact others of the myriad of reasons why the (re)glocalisation failed. It finds that, in part due to the competing public service and commercial ideologies of the BBC, Torchwood was a glocalised text from the beginning, despite its positioning as Welsh, which then became glocalised again in series 4. Audience response often expressed the contradictory historical and con- temporary discourses associated with British and American "quality TV. " Therefore, this study qualitatively investigates the various readings produced by audience members in the US, UK and Canada, as well as transnational fans who are long-term residents of one of those nations with a focus upon the interactions between fan and national cultural capital. The study finds that the audience is pseudo-reflexive when it comes to interpretation; though all express an awareness and acceptance that national identity is constructed and fluid, they still express an underlying essentialism when discussing national identity in the context of the series. KeywordsGlocalisation; transnational television; national identity; telefantasy; fan cultural capital; national cultural capital (Source: Unesco Thesaurus). 724"My" Hero or Epic Fail? Torchwood as Transnational Telefantasy -Melissa Beattie ¿"Mi" héroe o un total fracaso? Torchwood como tele fantasía trasnacional ResumenLa serie tele fantástica Torchwood (2006-2011, de múltiples productoras) se posicionó industrial y paratextualmente como una serie galesa, a pesar de su frecuente condición de coproducción internacional. Cuando en la cuarta temporada (subtitulada Miracle Day, del mismo modo en que la tercera temporada se subtituló Children of Earth), la producción (y diégesis) se trasladó principalmente a Estados Unidos como una coproducción entre BBC Worldwide y el canal de televisión premium estadounidense Starz, los seguidores de la serie reaccionaron de forma negativa al anuncio y la calificaron como "americanizada" en el discurso popular y académico. Este estudio, elaborado a partir de mi investigación doctoral, examina todas estas suposiciones a través de un ...

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“…The series is not a treaty coproduction (it is completely written and produced in Toronto), nor does it fall under the very productive category that Michele Hilmes identifies as transnational coproduction, where "national interests must be combined and reconciled." 14 The questions of distribution, acquisition, and branding are both old and new again in transnational television studies as we ponder the future and where the contradictions of both national specificity and structural histories of "broadcasting" are now significant selling points for select TV series globally.…”

Section: Creating and Selling Orphan Blackmentioning

confidence: 99%

Where in the World Is Orphan Black? Change and Continuity in Global TV Production and Distribution

Tinic

2015

Media Industries Journal

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The proliferation of digital windows, specialty channels, and fragmented audiences compels global media industry scholars to reassess the increasingly complex cultural negotiations that underpin new forms of transnational financing, production, and distribution for television dramas. The emphasis here is on the underexamined issues of branding both national and genre channels and issues of distribution, which are all important strategies in transnational television flows. The essay uses as a case study the Canadian television series Orphan Black, and its acquisition by BBC America, to illustrate how national and channel branding expectations of distributors are facilitating new forms of transnational television production partnerships.

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Transnational TV: What Do We Mean by “Coproduction” Anymore?

Cited by 24 publications

References 3 publications

Form, platform and the formation of transnational audiences

Form, platform and the formation of transnational audiences

“My” Hero or Epic Fail? Torchwood as Transnational Telefantasy

Where in the World Is Orphan Black? Change and Continuity in Global TV Production and Distribution

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