Bøger i Palgrave European Film and Media Studies serien

The chapters investigate how watching film and television from neighbouring countries can be regarded as a special kind of cultural encounter with the possibility of facilitating reflections on national differences within Europe and negotiations of what characterizes a national or a European identity respectively.

This book explores how audiences in contemporary Europe engage with films from other European countries. It draws on admissions data, surveys, and focus group discussions from across the continent to explain why viewers are attracted to particular European films, nationalities, and genres, including action-adventures, family films, animations, biopics, period dramas, thrillers, comedies, contemporary drama, and romance. It also examines how these films are financed, produced, and distributed, how they represent Europe and other Europeans, and how they affect audiences. Case-studies range from mainstream movies like Skyfall, Taken, Asterix & Obelix: God Save Britannia, and Sammy¿s Adventures: A Turtle¿s Tale to more middlebrow and arthouse titles, such as The Lives of Others, Volver, Coco Before Chanel, The Girl with the Dragon Tattoo, Intouchables, The Angels¿ Share, Ida, The Hunt, and Blue Is the Warmest Colour. The study shows that watching European films can sometimes improve people¿s understandings of other countries and make them feel more European. However, this is limited by the strong preference for Anglo-American action-adventures that offer few insights into the realities of European life. While some popular European arthouse films explore a wider range of nationalities, social issues, and historical events, these mainly appeal to urban-dwelling graduates. They can also sometimes accentuate tensions between Europeans instead of bringing them together. The book discusses what these findings mean for the European film industry, audiovisual policy, and scholarship on transnational and European cinema. It also considers how surveys, focus groups, databases and other methods that go beyond traditional textual analysis can offer new insights into our understanding of film.

This book offers a comparative study of historical television genres in Europe, with a special focus on Germany and Great Britain and their way of narrating twentieth century European history. The book analyses our common European past and memory through central historical television narratives.

This book explores a range of lesser-known documentaries and short films from the transnational Oresund region released in the period 2000-2009, focusing on how this Scandinavian region's urban and maritime spaces, iconic architecture, and peripheral communities across Malmoe and Copenhagen have been imagined and critiqued through film.

Contemporary European Science Fiction Cinemas charts the evolution of European science fiction cinema in the 21st century, a period in which Europe itself has faced myriad crises.

This book investigates screen representations of 21st century nationalism-arguably the most urgent and apparent phenomenon in the Western world today.

This study explores the representation of international migration on screen and how it has gained prominence and salience in European filmmaking over the past 100 years. Polish Migrants in European Film 1918-2017 takes the reader through a wide range of genres, from interwar musicals to Cold War defection films;

This volume examines the transnational character of popular music since the Cold War era to the present. Bringing together the cross-disciplinary research of native scholars, Eastern European Popular Music in a Transnational Context expands our understanding of the movement of physical music, musicians and genres through the Iron Curtain and within the region of Eastern Europe. With case studies ranging from Goran Bregovic, Czeslaw Niemen, the reception of Leonard Cohen in Poland, the Estonian punk scene to the Intervision Song Contest, the book discusses how the production and reception of popular music in the region has always been heavily influenced by international trends and how varied strategies allowed performers and fans to acquire cosmopolitan identities. Cross-disciplinary in nature, the investigations are informed by political, social and cultural history, reception studies, sociology and marketing and are largely based on archival research and interviews.

This book presents an expert analysis of the transnational aspects of Finnish cinema throughout its history. As a small nation cinema, Finnish film culture has, even at its most nationalistic, always been attached to developments in other film producing nations in terms of production and distribution as well as genres and aesthetics. Recent developments in film theory offer exciting new approaches and methodologies for the study of transnational phenomena in the field of film culture, both past and present. The authors employ a wide range of cutting edge methodologies in order to address the major issues involved in transnational approaches to film culture. Until recently, much of this research has focused on globalization and questions related to diasporic cinema, while transnational issues related to small nation film cultures have been marginalized. This study focuses on how small nation cinemas have faced the dilemma of contributing to the construction and maintenance of national culture and identity, while responding to audience tastes largely shaped by foreign cinemas.With Finland's intriguing political placement between East and West, along with the high portion of film history preserved in Finnish archives, this thoroughly contextualized multidisciplinary analysis of Finnish film history serves as an illuminating case study of the transnational aspects of small nation cinemas.

This book investigates screen representations of 21st century nationalism-arguably the most urgent and apparent phenomenon in the Western world today.

The authors position the development of Nordic Noir in the global market for popular television drama and place the international attention towards Nordic crime dramas within regional development of drama production in Sweden, Denmark, Norway and Iceland.

This book provides a unique examination of the way Europe's past is represented on contemporary screens and what this says about contemporary cultural attitudes to history.

This collection brings together international experts on the cinema of migration and diaspora in postcolonial and postnational Europe. It offers a comprehensive theoretical and analytical discussion of a highly productive creative sector and documents the spectrum of this area of exploration in European, transnational and World Cinema studies.

This book explores docudrama as a creative response to troubled times. With generic characteristics formed via traditions in theatre as well as film, and with claims to fact underscored by investigative journalism, television docudrama examines key events and personalities in unfolding national histories.

This collection brings together international experts on the cinema of migration and diaspora in postcolonial and postnational Europe. It offers a comprehensive theoretical and analytical discussion of a highly productive creative sector and documents the spectrum of this area of exploration in European, transnational and World Cinema studies.

This collection brings together international experts on the cinema of migration and diaspora in postcolonial and postnational Europe. It offers a comprehensive theoretical and analytical discussion of a highly productive creative sector and documents the spectrum of this area of exploration in European, transnational and World Cinema studies.

This book explores how to understand the international appeal of Danish television drama and Nordic Noir in the 2010s. Focusing on production and distribution as well as the series and their reception, the chapters analyse how this small nation production culture was suddenly regarded as an example of best practice in the international television industries, and how the distribution and branding of particular series ΓÇô such as Forbrydelsen/The Killing, Borgen and Bron/The Bridge ΓÇô led to dedicated audiences around the world. Discussing issues such as cultural proximity, transnationalism and glocalisation, the chapters investigate the complex interplays between the national and international in the television industries and the global lessons learned from the way in which screen ideas, production frameworks and public service content from Denmark suddenly managed to travel widely. The book builds on extensive empirical material and case studies conducted as part of the transnational research project ΓÇÿWhat Makes Danish Television Drama Travel?ΓÇÖ

This book deals with the role of television drama in Europe as enabler of transnational, cultural encounters for audiences and the creative community. Based on data on the production, distribution and reception of recent TV drama from several European countries, the book presents a new picture of the transnational European television culture.

The chapters investigate how watching film and television from neighbouring countries can be regarded as a special kind of cultural encounter with the possibility of facilitating reflections on national differences within Europe and negotiations of what characterizes a national or a European identity respectively.

The combination of qualitative and quantitative approaches, and the juxtaposition of industry and scholarly voices, provides a unique perspective on European co-production that is information-rich, complex and stimulating, making this volume a valuable companion for students, scholars, and industry professionals.

This book is the first to focus on the role of European television crime drama on the international market.

Contemporary European Science Fiction Cinemas charts the evolution of European science fiction cinema in the 21st century, a period in which Europe itself has faced myriad crises.