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Gunhild Agger Aalborg Universitet The Drama of National Identitity Scandinavian Media Culture Workshop, Lund Oct. 9-10 2013.

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1 Gunhild Agger Aalborg Universitet The Drama of National Identitity Scandinavian Media Culture Workshop, Lund Oct. 9-10 2013

2 The drama of national identity - outline Contributions to Nordic TV drama research – a brief survey of basic research Television and development/maintenance of national identity Strategies of national TV drama Proposal for research question

3 Nordic TV drama – basic research Agger, Gunhild. Dansk tv-drama – arvesølv og underholdning. Samfundslitteratur: Frederiksberg 2005 Agger, Gunhild. ”Dramaet om national identitet”, in Maria Sibinska et al. (red.): Nordisk drama. Fornyelser og transgressioner. Gdansk: Fundacja Rozwoju Uniwersytetu Gdanskiego, 2010: 87-100. Bondebjerg, I & Redvall. A small region in a global world: patterns in Scandinavian film and tv culture. CEMES Working Papers 2011A small region in a global world: patterns in Scandinavian film and tv culture Carlsson, Ulla (red.). Public service-tv. Göteborg: Nordicom 1999. Dahl, Hans Fredrik et al. Kinoens mørke. Fjernsynets lys. Gyldendal Norsk Forlag: Oslo 1996.

4 Nordic TV drama – basic research Engelstad, Audun. Fortelling i film og TV-serier. Abstrakt forlag: Oslo 2004. Forslund, Bengt: Dramat i tv-soffan, Svensk tv-dramatik under 50 år. Arena: Malmö 2006 Löfgren, Orvar: ”Medierna i nationsbygget. Hur press, radio och TV gjort Sverige svensk”, 1990, in Hannerz, Ulf (red.): Medier och kulturer. Stockholm: Carlssons 1990: 85-120. Nordmark, Dag. Finrummet och lekstugan. Prisma: Stockholm 1999. Nordmark, Dag. ”Örats teater och teatern i rutan”. In Ny svensk teaterhistoria. Stockholm: Gidlunds förlag 2007: 320-334. Ruoho, Iiris. Utility Drama. Tampere University Press: Tampere 2001.

5 Common organizational and structural elements Television established during the1950s in Danmark and Sweden, in Norway in 1960 1959 Nordvision: DR, NRK, YLE og SVT (from 1966 RUV) Primary source of inspiration: the BBC-model Strong public service principles Deregulation and competition from the 1980s Organizational and structural changes during the 1990s 1990 Nordisk Film- and TV Fund Dependance on international/American content and formats

6 Differences, among others, in media systems, traditions and audiences Number of channels Institutional attitude Production cultures Supply of domestic output Supply of Scandinavian, international and transnational output National choices of strategies Audiences’ preferences and tastes

7 Elements of a shared history: The function of formation (‘dannelse’) 1950-60s TV drama as a means of education: ”Dels spiller fjernsynsteatret for et publikum, hvoraf måske den største del kun møder med yderst få forudsætninger, dels er fjernsynsteatret blevet det middel, hvorigennem disse forudsætninger i dag må opbygges.” (Erik Aalbæk Jensen, Danish author, 1962). TV drama as a barometer of contemporary society: ”skal vi vise moderne forfattere, eller skal vi bare lune hverandre foran peisen? Å drive fjernsyns-teater er å bore seg fast med neglene i tiden.” (Arild Brinchmann, Norwegian Head of Drama, 1962)

8 Audience response 1963 ”Fjernsynsteateret er en god ting. Det er alle enige om. Men hvorfor sendes stykker som hovedsakelig om-handler død – drap – fengsler og banning? Er De klar over herr kringkastningssjef at folk har blitt skremt av alle disse mørkemennstykkene som bliver servert i Fjernsynsteateret” (Letter from a viewer 29.4.1963, reproduced in Dahl et al 1996)

9 Intimacy and opposition to American TV Henrik Dyfverman, first Head of TV Drama in SVT: ”intimiteten, närbilden, kontinuiteten i spelet” Julius Bomholt, Danish Minister of Education and Head of The Radio Council (Radiorådet): "Fjernsynsspillet når sin intimeste virkning i nærbilledets afsløringer, endnu nærmere end nogens teater-kikkert kan komme. Her hjælper hverken sminke eller paryk. Her er det den menneskelige ægthed i spillet, der er alfa og omega” (Bomholt 1954). / ”Amerikansk fjernsyn vil vi ikke ha”. Sigurd Hoel, Norwegian author: American television ”mer en kulturfare enn en kulturspreder” (1952)

10 TV drama as a means of looking for identity John Ellis: “an essentially national activity for the vast majority of its audience”: “Broadcast TV is the private life of a nationstate, defining the intimate and inconsequential sense of everyday life, forgotten quickly and incomprehen-sible for anyone who is outside its scope” (Visible Fictions, 1982) Bjørn Lense-Møller: "Et medium, som offentligheden investerer så meget i, skal først og fremmest fortælle noget om, hvordan det er at være dansk i verden i dag” (Levende Billeder april 1980)

11 Danish TV drama: ratings In generel 800.000 to 2,5 mill. (Sunday night slot, DR) Ørnen 1,3 mill. Krøniken 2,5 mill. Forbrydelsen 1,6 mill. Anna Pihl (TV 2) 1,2 mill. Forestilinger (1): 835.000 Borgen1,4 mill. Lykke1,3 mill.

12 The domestic strategy Hotel Cæsar TV 2 1998-2008 (Norway) Finnish family drama – perhasarja – as a national obligation according to Iiris Ruoho: Utility Drama 2001 Metsolat – during 3 periods 1993-96

13 The domestic-universal combination strategy Jan Troell: Utvandrarna og Nybyggarna 1971- 72 / 1974 Gabriel Axel: Babettes gæstebud 1987 Bille August: Pelle Erobreren 1987 Bille August / Ingmar Bergman:Den goda viljan 1991 / 1992 Bille August: Jerusalem 1996/97

14 Format trade E.g. Sweden: TV 3 Vita Lögner 1997 – more than 700 episodes Adapted into Danish: Hvide løgne TV 3 – 447 episodes 1998-2001. Sweden: Svensson, Svensson 1994-2008 In Danish: Madsen og Co. 1996-2000 Sweden and Denmark as production centres currently, exporting formats – latest exemple being The Bridge

15 Overall research question and sub questions Which strategies for TV drama have been prevalant in the Scandinavian countries and why? Sub questions Given a common public service strategy, which differences are most striking in the attitude to e.g. genres and formats? In which ways has the inter Nordic co-operation developed? How have other international and transnational influences and challenges been integrated, and which are the results? Proposal for cases: historical drama and documentaries


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