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

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Do curso por University of Copenhagen

Cinema e Televisão Escandinávos

303 classificações

University of Copenhagen

Cinema e Televisão Escandinávos

303 classificações

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.

Na lição

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

Conheça os instrutores

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

[SOUND] Welcome to the last three lectures

in this course on Scandinavian Film and Television.

Which deals with the globalization of the Scandinavian Film Cultures.

In 2012, Netflix and HBO Nordic, together with other video on-demand services,

also called VODs, was launched in Scandinavia.

Netflix is a U.S. based company founded in 1997 as a small

mail video rental company and later as a streaming service.

As of 2013, they have more than 33 million subscribers

worldwide and they have a strong position in not just the U.S.

and the U.K. but also South America and other parts of Europe.

In Denmark,

Netflix managed to get about a half million subscribers in less than a year.

The catalog varies in different countries.

And Netflix is, of course, aware that a global player,

they have to adopt a service to the Regional National Culture.

[MUSIC]

>> That I will faithfully execute the Office of President of the United States.

That I will faithfully execute the Office of President of the United States.

>> Power is a lot like real estate.

It's all about location, location, location.

>> Netflix is a global distributor of content.

As a global player, they have both the technological and

economic power to reach potentially, all markets.

But, Netflix is in fact, not just a distributor.

They also produce content or support the production of content, locally.

If that can give them increased rights to content.

They did for instance remake the British series House of Cards in an American

version, a production that became a huge global success and

also recently received awards.

But they also invested in the NRK television series in Norway Lilyhammer,

of production with Norwegian directors but

with the American Steven Van Zandt in the lead as an American

gangster trying to start a new life in Lilyhammer, Norway.

>> Why'd you go to the police?

Why you calling me first?

>> That was before I knew what kind of man you are.

>> Good.

Someday, and that day may never come, I will call upon you to shovel some snow.

But, until that day comes, accept this as a gift.

For the weekend my kids are baptized.

[MUSIC]

We will look into your problem >> Thank you.

>> Thank you.

[MUSIC]

>> What a putz.

>> This series was a huge success on with over 900,000 viewers,

but also on Netflix U.S. where it was launched in February 2012.

Half a year, after the launch of Netflix in Scandinavia,

also HBO Nordic was introduced.

This online service of film and

television works basically in the same way as Netflix.

You pay a small monthly fee.

And you can watch film and television where and when you want and

on old digital platforms, including some game consoles.

But the catalog of HBO is so far very much dominated by

the American HBO channels original and groundbreaking TV series and films.

However, HBO Nordic is clearly also

interested in not just distributing, but getting involved in Regional,

National Productions which can expand their territory.

But the image of HBO productions as a quality brand

has secured also HBO Nordic a fair grip of Scandinavia.

What we are witnessing with Netflix and HBO Nordic is the arrival

of a new global online culture which consumers embrace.

Because it's cheap, easy to access and use, and because it allows us to

watch the film and television content we want on the platforms we choose.

In the traditional media culture, in cinema and television,

somebody controls the schedule for you and you can never be sure what's on for you.

But the global dimension of this is also worth focusing on.

In all Scandinavian countries,

cinemas fear this development because they are afraid the big

global players will eventually kill off the local market for cinema.

The cinema industry as such is also skeptical because big

global players can dump the prices.

Online companies have a very detailed knowledge of how we tell different

film and television products from, with which kinds of audiences.

They do in fact have a much better knowledge of global and

national markets then the cinema industry has ever had.

National Public Service and commercial channels raise the same questions.

Will viewers continue watching traditional television?

Revolutions in media cultures always cause anxieties.

But it is at the same time inevitable that changes will happen with a new technology,

especially one with such benefits for the individual consumer.

Scandinavian television stations have long adapted to the development by

offering more and more flexible online services.

Public Service Channels have developed a whole new online culture

to supplement the normal linear television services.

It is possible to watch the programs online after they have been broadcast.

They have a whole archive with programs in old genres dating back

to the 1950s which you can watch, if you have a Danish IP address,

but sometimes, also, without that.

They also launch separate websites with varied

diverse sources of material to contextualize the series.

In some cases, for instance with historical drama series,

such web pages become extended historical archives with newspapers,

articles, radio, television and film from that period.

In their strategy for a Digital Development DR and

other Scandinavian Public Service Broadcasters have

termed this the development of digital surplus value.

It is about creating something extra on top of the programs.

But it is also about trying to organize television consumption in a way

proposed traditional viewing in linear time, and

individual online viewing becomes possible.

The figures for this traditional TV viewing in Scandinavia are going down and

will probably continue doing so the next decade.

But there is no reason to believe

that traditional television channels will not continue to exist just as cinema.

After all, radio did not kill live music, but

live music found a new place next to radio.

Other National Strategies to counter the global

online players are the establishing of national online services.

The Danish TV2, for instance, established TV2 Film, a special pay-per-view channel.

And big phone and television cable providers or satellite providers like TDC

in Denmark and ViaSat have launched YouBio and ViaSat Play.

But none of these national players, of course, have had a big success.

The big global players like Apple, TV and iTunes, Google,

Amazon, Netflix, and HBO, are strong enough to be both global and

local in a way that national players cannot match.

Global Dominance can follow from this.

But on the other hand, both Netflix and HBO have already showed

a clear interest in working together with the national film and

television cultures rather than against them.

[MUSIC]

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