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Ucho prezesa kabaret moralnego niepokoju3/28/2023 ![]() Luca Barra is Associate Professor of Television and Digital Media at Università di Bologna, Italy. ![]() A European Television Fiction Renaissance is a must-read book for TV scholars working across Europe and beyond in the areas of media studies, international communications and television studies, media industries studies, production studies, European studies, and media policy studies as well as for those with an interest in television drama, Netflix, globalisation, pay TV and on demand. ![]() This research is then supported by case study chapters from the key contexts within which quality European television is being produced, offering a complex and complete picture of the industry’s strengths and limitations, its traditions and trends, its constraints and future perspectives. With contributions from leading experts in the field, the book first offers an overview of the industrial, policy and cultural context for the renaissance of European television drama over the past decade, based on original comparative research. ![]() Combining a media production approach with a textual and audience analysis, the volume offers a complex, stratified, systemic view of ongoing aesthetic, sociocultural and industrial developments in contemporary European TV. This book maps the landscape of contemporary European premium television fiction, offering a detailed overview of both the changes in the digital production and distribution and the emergence of specific national and transnational case histories. 1 Introduction: The Many Steps and Factors of a European RenaissanceĢ The Grounds for a Renaissance in European Fiction: Transnational Writing, Production and Distribution Approaches, and Strategiesģ Mapping European Premium-Scripted TV: Trends, Patterns, and Data In an Emerging EU MarketĤ Transnational Circulation of European TV Series: National Models and Industrial Strategies for Scripted Pay Imports/Exportsĥ A 21st-Century Gold Rush? Video on Demand and the Global Competition for UK TelevisionĦ “The Biggest Drama Commission in British Television History”: Netflix, The Crown, and the UK Television Ecosystemħ Video on Demand Platforms, Editorial Strategies, and Logics of Production: The Case of Netflix FranceĨ The Strategy of “Quality TV”: Branding, Creating, and Producing at Canal+ĩ What is a Quality French series? Reflections on The Bureauġ0 Towards a New Model for Italian TV Fiction: Sky Italia Originals and the Struggle for Differenceġ1 The Holy See(ing): Splendors and Miseries of The Young Popeġ2 TV Drama Series Production in Germany and the Digital Television Landscapeġ3 Selling Location, Selling History: New German Series and Changing Market Logicġ4 The Origins of Premium Television Fiction in Spain: Canal+ and its Evolution Towards New Ways of Production and Distribution as Movistar+ġ5 Bambú Producciones and the Transformation of Spanish Television Fiction Productionġ6 HBO Europe’s Original Programming in the Era of Streaming Warsġ7 Quality By Design: Feature TV Series From Premium Television in Polandġ8 Familiar, Much Too Familiar… HBO’s Hungarian Original Productions and the Questions of Cultural ProximityĪ European Television Fiction Renaissance
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