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Bridging Worlds: Producing and Imagining the Transnational through TV Narratives
Journal of Science and Technology of the Arts, 2017
Globalization has transformed economic, political and social structures, but it also reshaped our perceptions of the world. These transformations influenced media narrative not only as products of big multinational corporates, but also, as stories. This paper, motivated by the success of the Nordic Noir police drama, Bron/ Broen and its adaptation by the US. channel Fox, explores how transnationalism permeates TV narratives generating new narrative worlds. Moreover, the work goes a step further examining how these narratives reimagine the transnational lifestyle and how this contributes to their success internationally. What happens when TV stories cross borders? And in what ways does transnationalism become an internal element of these narrative mobilities? But also, how is transnationalism narrative-generated, too?
Transnationalization of Television Fiction in Ibero-American Countries
The present OBITEL Yearbook is the sixth of a series started in the year 2007, and it reflects the maturity of a methodological model that combines quantitative study with the contextual analysis of television fiction, its transmediation into other screens and the sociocultural dynamics that are circumscribed to each of the different member countries. OBITEL is made up of eleven national research groups that throughout a year systematically monitor fiction shows that are broadcast through open television channels in their respective countries. The results of this monitoring are presented through the singularities and tendencies of fiction in each country. In addition, every OBITEL yearbook has a comparative chapter that provides a general panorama of the member countries. Fiction, as industry and format, is one of the most representative cultural and media products of television in Ibero-America. Its cultural, symbolic tradition is a place of agreement and disagreement that is now the setting not only of the main characters' loves and intimate secrets in the telenovelas and series, but also that of public life, politics, the citizenship, since ever more fiction anchors its narrative on the multiple problems that affect us as a region and at the same time separate us as countries. The Obitel countries decided to make the theme of " transnationalization in the fiction television " the topic of the year for this 2012 Yearbook, with the objective of mapping the characteristics of the transnational flows among and outside the countries participating in this project. OBITEL 2012 reflected on the three spheres where the transnational element makes an impact or is reflected: the industry, the contents and the flows and audiences.
Researching European Crime Narratives and the Role of Television: An Introduction
Cinéma & Cie. Film and Media Studies Journal, 2021
Television screens across Europe are more and more filled, in their channels' schedules as in the digital platforms' libraries, with detectives, investigators, police(wo)men coming from abroad. After a long-lasting prominence of US figures, reflecting a larger hegemony often read as cultural imperialism, the last decades have complicated the picture, offering an increasing visibility (with different roles and resonances) to characters coming from the UK, the Nordic regions of Scandinavia, the major continental markets as France, Germany, Spain and Italy, the Mediterranean regions, the Eastern and Central European countries, and so on. This partial yet relevant opening has been saluted as a change of direction in global circulation flows, leading many to think about its consequences on a larger, shared idea of European culture; at the same time, many limits and complexities in this increased presence have also emerged. In both perspectives, European crime narratives are seen as complex objects and need therefore to be adequately researched. Television detectives are national, and global, and often glocal. Their popularity and circulation in European markets bring cultural diversity and put audiences in touch with other not-so-far yet distinct cultures, while also-sometimes-laying some ground for the development of a truly transnational, cross-European, shared popular culture. This special issue presents some of the research findings of the H2020funded project DETECt-Detecting Transcultural Identity in European Popular Crime Narratives (2018-2021), led by Monica Dall'Asta (University of Bologna) in collaboration with more than 40 scholars and professionals affiliated to 17 institutions, located in 10 European countries. 1 This large consortium examined a set of questions about the emergence, circulation, promotion and representation of European transcultural identities in the field of popular media: are popular narratives conveying and supporting the shaping of a new, shared feeling of belonging to a same continental cultural heritage-or do they instead highlight the crisis in the process of European integration that has been politically and socially visible during
The article provides a wide theoretical analysis of the relatively new phenomenon - the transmedia narrative. The work starts with a broader overview of the historical and social aspects related with the narrative structures. Subsequently, it reviews the wide spectrum of literature outlining the very concept of " narrative ". Towards the end, the most prominent scholar definitions of the term " transmedia narrative " are examined and analyzed. As a result, a coherent definition is offered in order to serve as a basis for further research into the diminishing attention spans of the modern audience, the media convergence and the applications of user-generated content.
Transnational Europe: TV-drama, co-production networks and mediated cultural encounters
This article deals with the social and cultural dimensions of globalization and uses both qualitative and quantitative methods to analyse the effects of stronger European integration on media production and reception. It combines theories and methods from sociology, anthropology and media studies and looks at the impact of TV drama genres on the forming of social imaginaries. The article examines structural changes in production and distribution in the European TV-drama landscape since 2000. On the basis of empirical evidence it is argued that a creative, transnational European network of co-productions has increased the distribution of original and often local stories in Europe. The article analyses examples of some successful European drama series, their audiences and reception. The analysis is discussed in the context of national and transnational media policy and the impact of globalisation. Concepts like " imagined community " , " social imaginary " , " banal nationalism " , and " mediated cultural encounters " are connected to the theory of cultural globalisation. Also touched upon are studies of a European civic and cultural identity next to the national, and the role of media and cultural policy in this development. The article concludes that encounters of the kind we find in different forms of TV drama will make Europe more diverse and richer for a much broader audience. The interaction between the particular and universal in " narratives " on our past and contemporary social and cultural order contribute to a better feeling for and understanding of the " us " and " them " in European culture.
Introduction: Dark Screens: The geopolitics of Nordic television drama
Nordicom Review, 2020
This special collection of articles emerged from a two-day workshop on the topic “Nordic Noir, Geopolitics, and the North” held at Aarhus University, Denmark, 4–5 October 2018. Recognising the unabating popularity of the Nordic Noir genre, the workshop sought to extend current media-cultural discussions of Nordic crime television drama to critically assess how topical geopolitical developments both influence and are interrogated within these fictional narratives. The genesis of this workshop arose from the intersections between the research interests of this special issue’s three editors, building on Anne Marit Waade’s work on the production, aesthetics, and distribution of Nordic Noir television drama, Pei-Sze Chow’s research on the audiovisual representations of transnational regions in Scandinavia, and Robert A. Saunders’s scholarship on the popular culture-world politics continuum, and more specifically his typology of geopolitical television. Over two days of presentations and ...
With the rise of television formats in global television, several studies have examined the economic, political, and cultural aspects of this media product's production and circulation. This study analyzes the complex path of a television drama series from a local critical and popular phenomenon to a global " quality " fiction format, focusing on the transnationalization process of the format of the Israeli program BeTipul from its arrival in the United States to its adaptation and reception in Canada, Argentina, Brazil, and Italy. The study emphasizes the cross-cultural dialogic attributes of the quality fiction format, which support a strategy comprising both mutual benefits and competition, as opposed to the allegedly " odorless " or " neutral " features of reality and game-show formats.