Titlebook: Danish Television Drama; Global Lessons from Anne Marit Waade,Eva Novrup Redvall,Pia Majbritt J Book 2020 The Editor(s) (if applicable) an

使腐烂

2634-615X tent 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?’ .978-3-030-40800-8978-3-030-40798-8Series ISSN 2634-615X Series E-ISSN 2634-6168

钩针织物

Wen-Yuan Zhu,Cheng Tan,Ru-zhi Zhangnish television drama, from screen idea development and production, to sale, distribution, and global reception. Finally, the authors critically discuss the global success of Danish series and consider whether imitation is the sincerest form of flattery.

CLAN

Transnational Television Drama? Lessons Learned from Danish Drama,nish television drama, from screen idea development and production, to sale, distribution, and global reception. Finally, the authors critically discuss the global success of Danish series and consider whether imitation is the sincerest form of flattery.

壮观的游行

Book 2020tribution 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 Ki

Monocle

Wen-Yuan Zhu,Cheng Tan,Ru-zhi Zhangghted. Jurij M. Lotman’s model of transnational cultural exchange is applied, supporting five distinct phases in the pattern of development. The limits, the travelling, and the heritage of the Danish golden age are scrutinized.

Galactogogue

Parasitic Infestations, Stings, and Bitesoir arrived on Wales’s shores to transform the existing local production sector. Rather, it is a subtle narrative exploration of the Nordic/Celtic ‘contact zone’ that examines the capacity of Nordic Noir to enable textual mobilities and to engender productive re-evaluations of non-Anglocentric television drama.

窃喜

Hypnogram and Compliance Graph Analysises from TV 2, . (2018–) and . (2018), as different examples of glocal television drama production. These series and the history of crime drama production from TV 2 stress increased international collaboration as a common production model for commercial public service television production.

Throttle

陪审团

https://doi.org/10.1007/978-1-349-12579-1uction inevitably also entails new challenges, not the least in terms of communication and translation across languages and cultures, in screenplays and on set, as well as in many different and sometimes surprising aspects of production.

STYX

https://doi.org/10.1007/978-1-349-12579-1inavia, but also internationally. Based on industry reports, material from the trade press, and industry interviews, this chapter analyses Norwegian drama in the aftermath of the Danish success and the global lessons that can be taken from this.