Writing and Producing Television Drama in Denmark

Redvall, Eva Novrup

doi:10.1057/9781137288417

Cited by 160 publications

(73 citation statements)

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“…The reason for these narrative missteps is probably related to the fact that Fellowes is the only one writing the series and does not have a staff of writers, like most writing rooms in the US. The importance of the writing room, and the specific dynamics of the development of a series connected to it, are studied in Redvall (2013). comforting nature. The show offers the audience an escape from our difficult present into a world of reassuring traditions, wealth and every day heroes.…”

Section: Discussionmentioning

confidence: 99%

How to apply the multi-strand narrative of American TV shows in a British series: the Downton Abbey’s case

Braga

2016

Communication & Society

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The article analyzes the key ideas that allowed Downton Abbey to become one of the most iconic series in the British landscape. By focusing on the show's narrative rhetoric, we especially learn about all those aspects that find their roots in American TV shows. Downton Abbey's creators, producers Gareth Neame and screenwriter Julian Fellowes, asserted that they modeled their show after series like ER and The West Wing. Inspired by the movie Gosford Park, Neame and Fellowes were aiming to reboot the genre of period drama. The article specifically identifies Downton Abbey's elements of international success in the unity between its procedural arena and characters web as well as in the ability to focus organically on a general theme and to keep its tone emotionally consistent. The article ends by questioning all those lectures that look at Downton Abbey exclusively as an escapist and utopic piece. On the contrary, the article highlights the proactive nature of the show. At its dramatic core, Downton Abbey can be considered very similar to a seemingly different show like The West Wing.

show abstract

Section: Discussionmentioning

confidence: 99%

How to apply the multi-strand narrative of American TV shows in a British series: the Downton Abbey’s case

Braga

2016

Communication & Society

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show abstract

“…This 'double-dimension narrating' characteristic of the genre (Redvall 2013), in which several storylines are unfolding simultaneously, is crucial to understanding how the genre 'reveals an intensely complex and divided world which can only be healed through a combination of tolerance and co-operation' (Creeber 2015: 24). In her work on television writing and production practices in Denmark, Redvall (2013) shows how this double narrative structure is one of the crucial ways in which producers seek to stir debate, mirror relevant and topical issues, and provide a window onto different values, cultures and ways of living among their audiences (p. 68). In essence, the story of two police officers forced to collaborate despite differences and borders suggests the interconnectedness of humanity in a world 'where everything and everyone is implicitly linked' (Creeber 2015: 24).…”

Section: Social Ritual: a Sunday Night Communitymentioning

confidence: 99%

Engaging withThe Bridge: Cultural citizenship, cross-border identities and audiences as ‘regionauts’

Askanius

2017

European Journal of Cultural Studies

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This article explores civic engagement with the Danish/Swedish crime series The Bridge (Danmarks Radio/Sveriges Television 2011–) based on qualitative interviews with 113 audience members, and drawing on the notion of cultural citizenship. The perspective of cultural citizenship, as understood and operationalized mainly by Hermes, is married with critical perspectives on the crime drama genre and its audiences, along with cultural analysis of the construction of and engagement with the cross-border region in which the drama is set. The analysis shows that civic engagement with the crime series is prompted through the construction of community and allegiances through which audiences feel connected. This argument unfolds in three main analytical sections, detailing how audiences’ articulations of community are focused around distinct yet overlapping dimensions of community as (1) a national social ritual, (2) a sense of Nordic community, and finally (3) community as regional identity and sense of belonging to a borderless Öresund utopia – the integrated region between Denmark and Sweden. In so doing, the article offers rich insights into how audiences shape civic identities as members of nation states, of historical and cultural regions and as border-crossers between these geo-cultural entities - in dialogue with popular culture and around the boundary-work of the different communities offered by such texts.

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“…Den relevante tidslige investering for forskeren er dermed ikke et ophold på et bestemt sted. Redvall har siden anvendt samme teoretiske ramme til en grundig og omfangsrig undersøgelse af DR's tv-drama-produktion (Redvall, 2013). I den undersøgelse var observationsstudier af selve idéudviklings-og manuskriptskrivningsfasen i højere grad mulig, idet DR netop eksperimenterede med det såkaldte 'writers' room' i forbindelse med udviklingen af serien Borgen.…”

Section: Genrer Viden Og Medierne Selvunclassified

Tid og timing: Et metodisk perspektiv på produktionsanalyse

Frandsen¹,

Bruun²

2017

MedieKultur

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In recent years, media production studies have grown into a thriving fi eld of research, which has given rise to a discussion of the theoretical and methodological approaches it employs (Paterson et al., 2016;Frandsen, 2007;Bruun, 2010Bruun, , 2016b. Th is article is a contribution to this development. Th e focal point is a discussion of how time and timing are important in media production research. Th e article points out that time is not just a matter of the amount of time that researchers have for their data collection. In production studies, the researcher constructs the object for analysis, and time is to be considered depending on the type of analytical object you are trying to create, on the temporality that is present in the production process behind specifi c genres and subject areas, and on the changes the media are undergoing. A particular aspect of time is timing, which has both a performative and a strategic dimension. Th e importance of time and timing will be illustrated with examples from our own and other researchers' projects. IndledningGennem de senere år har medieproduktionsanalyse fået en opblomstring som forskningsfelt. Den voksende interesse har resulteret i en raekke bidrag, hvor der ikke mindst er fokus på at praesentere resultater af konkrete studier (Hesmondhalg, 2006;

show abstract

Writing and Producing Television Drama in Denmark

Cited by 160 publications

References 0 publications

How to apply the multi-strand narrative of American TV shows in a British series: the Downton Abbey’s case

How to apply the multi-strand narrative of American TV shows in a British series: the Downton Abbey’s case

Engaging withThe Bridge: Cultural citizenship, cross-border identities and audiences as ‘regionauts’

Tid og timing: Et metodisk perspektiv på produktionsanalyse

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