10.3: Towards new horizons: Transnational futures, by Professor Ib Bondebjerg

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From the course by University of Copenhagen

Scandinavian Film and Television

270 оценки

University of Copenhagen

Scandinavian Film and Television

270 оценки

In many ways Scandinavian film and television is a global cultural brand, connected with and exporting some of the cultural and social values connected to a liberal and progressive welfare society. This course deals with the social, institutional and cultural background of film and television in Scandinavia and in a broader European and global context.

From the lesson

Modern TV Drama and the Digital Revolution

With 'Nordic Noir' such as 'Wallander' and 'Forbrydelsen/The Killing' becoming a 'brand' in the 2010s, some 'Scandi crime' series were suddenly of interest to international as well as national audiences. The ninth lesson focuses on Scandinavian television drama after the millennium and addresses some of the changes in the production framework that helped the series move from the national to the international realm. The tenth and final lesson discusses how to understand the contemporary Scandinavian film and television culture in a global and digital era. What might the transnational future bring?

10.1: The birth of a global online culture, by Professor Ib Bondebjerg9:16

10.2: Is Nordic globally cool?, by Professor Ib Bondebjerg11:44

10.3: Towards new horizons: Transnational futures, by Professor Ib Bondebjerg8:35

Meet the Instructors

Eva Novrup Redvall
Associate Professor
Department of Media, Cognition and Communication

[SOUND] Even though Scandinavian film and

television cannot compete in any quantitive

sense of the word with the US, UK film culture,

we have seen a rather spectacular success over the last five to ten years.

There are many forms of success.

Few films and television series from Scandinavia will have an instant and

spectacular success in terms of money and audiences, although a few have.

But other forms of success, such as the artistic success over

a long time building up to become an all-time classic, can be reached.

If the Millennium Trilogy is an example of the first success,

Bergman and von Trier's success is of the other kind.

The Girl with the Dragon Tattoo from 2009, the first in the Millennium Trilogy was,

like the rest of the films, a Swedish, Danish, German co-production.

It's based on the already international

bestseller of Swedish author Stieg Larsson and

the first film was directed by Danish Niels Arden Oplev and

the two following were directed by Swedish Daniel Alfredson.

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The story in the trilogy is clearly based on a Swedish context and plot.

And especially the female character is complex, fascinating and very special.

But nevertheless, the genre and story clearly has universal potentials.

The first film was seen by 10 to 12 million people worldwide,

based alone on cinema figures.

The following, half of that.

The future for Scandinavian film and

television will clearly move on in the direction of this Millennium Trilogy.

The co-production between several countries in Europe will not only ensure

bigger budgets than just national productions, but

following from that also a chance of better distribution worldwide.

In the future the success will not just be a success on the traditional platforms,

cinema and television, but more and

more will also be moving towards the digital platforms.

This kind of model doesn't only apply for mainstream films with some sort of

blockbuster potential, it will also apply to drama and art cinema.

As we have already demonstrated in this course,

the Scandinavian art cinema is a steady international success.

Although not measured by how high audience figures and by economic standards,

but it's a success simply by having a presence in many countries.

The art cinema circuit and

the festival system offer new ways of telling visual stories.

Success can thus also be measured in less quantitative and more qualitative terms.

By the influence film and television can have on creative release and

through that also on the development of film language and

new types of products that are different from the mainstream products.

The global online culture which is being developed now is potentially a very strong

tool in the global distribution of also small and regional cultures.

There's no reason why the big global players should

only be interested in carrying the high, popular, mainstream products.

The logic of the digital culture is such that once a film or

a television product is online and digital, it's there to use for

a much longer period than the normal media would carry the same item.

This is sometimes called the long tail of digital economy.

A niche product, a product which may only have a limited audience in a national

context, can suddenly in a global context have a larger audience.

The sum of niche audiences

in many countries over a longer time can be strong.

In a way, all of Scandinavia is a small

niche audience in a very big global market.

We have always been used to the fact that bigger nations had bigger audiences and

thus a better economy for individual products.

Despite that, Scandinavian film and television culture has done well,

partly because of the Scandinavian and European collaboration, but also because

quality products have been produced with often rather small product budgets.

This in a way was what Dogme 95 was about, a strategy for

low budget realist films done with an artistic nerve and

intensity you often lack in big-budget productions.

This is what Scandinavian design and creativity is about.

Less is sometimes more.

Restrictions and constraints can challenge the creative mind.

The story of more than 100 years of Scandinavian film and

television has come to an end.

It is the story of individual entrepreneurs building

the infrastructure for production and distribution of moving images.

It is the story of individual directors, screenwriters, producers, and

actors that have created and impersonated the Scandinavian stories.

And it is the story of a welfare society and

a cultural policy that has created the support mechanisms needed for

a small nation with strange languages that few understand.

It is the story of film and

television as part of the shaping of national imaginaries but

it also the story of trans-national collaboration and

international inspirations and influence on the global world culture.

Scandinavia was created through cooperation between individual nations

that used to fight each other, but are now just competing more peacefully.

Alone against each other or together on the international stage.

In a similar way Europe was created out of the ashes of World War II and

has now turned into a loose federation of nations also working together

culturally and in making of distribution of film and television.

If Scandinavia wants to advance as a film and

television producing region, the road goes through global cooperation

without losing the cultural specificity of our stories.

New digital platforms could help get the products out there much more efficiently.

But we must maintain our way of storytelling and

thus help preserve the diversity of the global film and media culture.

And this was the final lecture in this course.

Thank you for your attention.

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