Nordic production studies at the edge of the 2020s

2020 ◽  
Vol 10 (2) ◽  
pp. 93-100 ◽  
Author(s):  
Eva Novrup Redvall
Keyword(s):  
Audience Studies ◽  
Television Production ◽  
Production Studies ◽  
Film And Television ◽  
Research Collaborations ◽  
Current Trends

This article outlines the main developments in Nordic film and television production studies in the 2000s, focusing on recent publications as well as the value of research collaborations, centres and conferences. The article also highlights current trends such as an ongoing interest in creating stronger connections between production and audience studies.

scholarly journals Television and Canada's Aboriginal Communities

2004 ◽  
Vol 29 (1) ◽  
Author(s):  
Doris Baltruschat
Keyword(s):  
Cultural Production ◽  
Aboriginal Peoples ◽  
Land Claims ◽  
Television Programs ◽  
Language Preservation ◽  
Television Production ◽  
Film And Television ◽  
Current Trends ◽  
Critical Issues ◽  
International Distribution

Abstract: This paper traces the origins of the Aboriginal Peoples Television Network (APTN) and highlights current trends in indigenous film and television production. Indigenous film and television narratives are rooted in storytelling traditions and oral culture. They describe histories and communities, and highlight critical issues from land claims to language preservation. In spite of their local focus, film and television programs are also closely linked to global production modes through co-productions and international distribution. This results in a dichotomous dynamic: While First Nation producers are dedicated to preserving Aboriginal cultures, they also partake in the development of global cultural production. Résumé : Cet article retrace les origines de l’Aboriginal Peoples Television Network (APTN) et souligne certaines tendances actuelles dans la réalisation de films et d’émissions de télévision autochtones. Les narrations filmiques et télévisuelles autochtones ont leurs sources dans une tradition de conteurs et une culture orale. Elles décrivent des communautés et leurs histoires, et soulignent des questions critiques allant des revendications territoriales à la préservation de la langue. En dépit de leur caractère local, les films et les émissions de télévision sont étroitement liés à des modes de production mondiaux au moyen de coproductions et de distribution internationale. Cette situation crée une dynamique dichotomique : les réalisateurs des Premières Nations, tout en se consacrant à préserver les cultures autochtones, participent au développement d’une production culturelle mondiale.

Do State Corporate Tax Incentives Create Jobs? Quasi-experimental Evidence from the Entertainment Industry

2019 ◽  
Vol 51 (2) ◽  
pp. 92-103 ◽  
Author(s):  
Michael Thom
Keyword(s):  
Employment Growth ◽  
Tax Incentives ◽  
The United States ◽  
Creative Industries ◽  
Corporate Tax ◽  
Policy Makers ◽  
Television Production ◽  
Film And Television ◽  
Incentive Programs ◽  
Quasi Experimental

Policy makers allocate billions of dollars each year to tax incentives that increasingly favor creative industries. This study scrutinizes that approach by examining motion picture incentive programs used in over thirty states to encourage film and television production. It uses a quasi-experimental strategy to determine whether those programs have contributed to employment growth. Results mostly show no statistically significant effects. Results also indicate that domestic employment is unaffected by competing incentives offered outside the United States. These findings are robust to several alternative models and should lead policy makers to question the wisdom of targeted incentives conferred on creative industries.

Imagined spectators

Target ◽  
2016 ◽  
Vol 28 (2) ◽  
pp. 261-275 ◽  
Author(s):  
Carol O’Sullivan
Keyword(s):  
Rapid Change ◽  
General Sense ◽  
Comprehensive Overview ◽  
Television Production ◽  
Film And Television ◽  
Home Entertainment ◽  
Automated Translation ◽  
Audio Description ◽  
Catch Up ◽  
Research Questions

Abstract This article considers theoretical and methodological questions of language and translation policy in the dissemination of audiovisual products across languages. This is an area where scholarly research is inevitably playing catch-up with rapid change both in the language industries and in film and television production. For example, we have a general sense of ‘dubbing territories’ and ‘subtitling territories’ but in reality the picture is more complex. Norms changed in the course of the home entertainment revolution, with the arrival of the DVD format in the late 1990s ostensibly increasing viewer choice and flexibility of translation provision. The relocation of much audiovisual material to an online environment has also generated fundamental changes in the way that works circulate, with volunteer translators and automated translation processes playing a larger role. Policy developments in access translation have meant that there have also been great changes relatively recently in the availability of SDH subtitling, audio description and other modes of access translation. This is a very broad field which raises many compelling research questions. At the same time, its very breadth does not lend itself to a comprehensive overview. The article will therefore aim to provide an orientation to, rather than a summary of, the theoretical and methodological challenges of research on this topic.

Nordic Noir

2017 ◽  
Author(s):  
Annette Hill ◽  
Susan Turnbull
Keyword(s):  
Qualitative Interviews ◽  
The United States ◽  
Crime Fiction ◽  
Multiple Perspectives ◽  
Feature Film ◽  
Audience Studies ◽  
Film And Television ◽  
Global Brand ◽  
Institutional Contexts ◽  
The Look

Nordic noir is an emerging crime genre that draws on crime fiction, feature film, and television drama. The term Nordic noir is associated with a region (Scandinavia), with a mood (gloomy and bleak), with a look (dark and grim), and with strong characters and a compelling narrative. Such is the popularity of Nordic noir as a brand for crime that it can also, and somewhat confusingly, be associated with disparate, bleak dramas set in particular locations outside the Scandinavian region (Sweden, Denmark, Norway, Iceland, and Finland), such as Wales, Italy, France, Mexico, and the United States. As such, Nordic noir is a global brand that attracts transnational audiences, and at the same time, it is a genre that offers a specific style of storytelling that has the look and feel of a regional, moody, and compelling crime narrative. The approach to Nordic noir taken in this article analyzes the genre as multidimensional, involving production and institutional contexts, creative practices, and the practices of audiences and fans. The research uses empirical and theoretical analysis drawing on genre analysis, as well as production and audience studies, including qualitative interviews and participant observations with executive and creative producers, viewers, and fans. Nordic noir is not a fixed genre; rather, it is in a constant process of iteration as it mutates, hybridizes and migrates from one location to another, where it may be received and understood in different ways. The concept of “genre work” is useful in helping to capture and critically analyze Nordic noir from multiple perspectives, taking into account the complex ways in which this genre is a cocreation between industries and audiences. This is particularly evident in the case of the Danish-Swedish coproduction Broen/Bron/The Bridge (2011), which provides an illuminating case study of these processes at work. It is this constantly ongoing notion of genre work that illuminates the fluidity of Nordic noir, where its meaning and symbolic power is cocreated by institutions, producers, and audiences.

scholarly journals Gay the right way? Roles and routines of Irish media production among gay and lesbian workers

2020 ◽  
Vol 35 (4) ◽  
pp. 355-369 ◽  
Author(s):  
Anne O’Brien ◽  
Páraic Kerrigan
Keyword(s):  
Sexual Identity ◽  
Career Progression ◽  
Gay And Lesbian ◽  
Production Data ◽  
Structured Interviews ◽  
Television Production ◽  
Sexual Identities ◽  
Film And Television ◽  
Irish Film ◽  
The Right

This article explores how gay and lesbian identities are incorporated, or not, into the roles and routines of Irish film and television production. Data were gathered in 2018–2019 through semi-structured interviews with a purposive, snowball sample of 10 people who work in the Irish industries. The key findings are that for gay and lesbian workers their minority sexual identity impacts on the roles that they are likely to be included and excluded from. Sexuality also affects their promotion prospects and their career progression. Similarly, in terms of routines of production, gay and lesbian workers are associated with certain genres, based on stereotypical assumptions about their sexual identities by their hetero-managers and colleagues. In short, Irish gay and lesbian media workers articulated an overarching tension between the heteronormativity of the industry and the queerness of the gay and lesbian media worker. Some workers respond to that tension by adopting a homonormative approach to work while others attempt to forge a queer way of producing.

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