Meanwhile, the focus on ’quality television’ and international niche audiences taking an interest in certain kinds of subtitled content from small nations – not least in what is now commonly discussed as a particular brand of ’Nordic Noir’ – has led to new sources of inspiration and the possibility to reach global audiences. This challenges the established ways that series are normally produced and distributed, while audiences now engage with television fiction in many different ways. The arrival of Netflix and HBO Nordic in the Danish media landscape in 2012 has created a complex mix of traditional public service as well as private broadcasters and new SVOD players. No longer do we conceive of a distinction between drama targeted primarily at national audiences and drama that also has international appeal. In terms of production, texts and audiences, the past ten years have seen remarkable changes in how we think about domestic drama production. Gone are the days when Danish television drama was a purely national affair.
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