Abstract
Theories of transnationalism do not fully explain contemporary television production/funding practices. Rather, the concept glocalisation contributes, with perspectives that explain the co-existence of local-to-global players in television drama production. Crime series have been the essential constituent in the international distribution of Danish television drama and the co-funding composition of crime series appear exceedingly glocal. For that reason, the perspective in this chapter is commercial public service television crime series. Based on interviews with key informants, I analyse two recent crime series from TV 2, Greyzone (2018–) and Kriger/Warrior (2018), as different examples of glocal television drama production. These series and the history of crime drama production from TV 2 stress increased international collaboration as a common production model for commercial public service television production.
Research presented in this chapter was financed by the research projects, What Makes Danish TV Drama Series Travel? (Danish Council for Independent Research, 2014–18) and DETECt – Detecting Transcultural Identity in European Popular Crime Narratives (Horizon 2020, 2018–21).
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Notes
- 1.
Informants were chosen to represent TV 2 and two recent crime drama productions broadcast on TV 2. All quotes have been translated by the author and have been approved for publication by informants. Thank you to Peter Bose, Katrine Vogelsang, Pernille Bech Christensen, Janne Nygaard Mogensen, Lisbeth Qvist, Rasmus Thorsen, and Christoffer Boe for their collaboration.
- 2.
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Hansen, K.T. (2020). Glocal Perspectives on Danish Television Series: Co-Producing Crime Narratives for Commercial Public Service. In: Waade, A., Redvall, E., Majbritt Jensen, P. (eds) Danish Television Drama. Palgrave European Film and Media Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-40798-8_5
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