In the article, I argue that theories of transnationalism do not fully explain contemporary tendencies within television funding practices. Instead, I claim that the concept glocalization may contribute with perspectives that explain the co-existence of local, national, regional and global finances in television drama production. With Anne Marit Waade, I have documented that crime series has been a very important component in the international attention towards Danish television drama (Hansen and Waade 2017), while crime series has been dubbed ““natural” transnational cop stories” (Bondebjerg 2016, 5). Compared with for instance comedy series, the funding composition of crime series appear exceedingly glocal, and for that reason the perspective in this chapter focusses on television crime series. Based on interviews with key informants, I will use the two latest crime series from TV2, Greyzone (2018-) and Kriger (Warrior, 2018), as two examples of glocal television drama production.
|Titel||Danish Television Drama : Global Lessons from a Small Nation|
|Redaktører||Anne Marit Waade, Pia Majbritt Jensen, Eva Novrup Redvall|
|Status||Accepteret/In press - 2020|
|Navn||Palgrave European Film and Media Studies|
- television series
Hansen, K. T. (Accepteret/In press). Glocal Perspectives on Danish Television Drama: Co-producing crime narratives for commercial public service . I A. M. Waade, P. Majbritt Jensen, & E. Novrup Redvall (red.), Danish Television Drama: Global Lessons from a Small Nation Palgrave Macmillan. Palgrave European Film and Media Studies