A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture
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A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture Ib Bondebjerg & Eva Novrup Redvall 2011 2 Table of Contents List of figures ................................................................................................................... 3 Acknowledgments ........................................................................................................... 5 Films in a New Context: Summary and Main Conclusions .................................................. 7 Introduction: Scandinavian Film Culture, Globalisation and the Digital Challenge ............ 13 The Cultural Diversity Model: The Scandinavian Film Support System ............................. 18 Film support between the nation state and market ........................................................... 19 The Europeanisation and globalisation of film culture ....................................................... 25 A weak and fragmented production culture? .................................................................. 37 Looking for the audience: the Scandinavian film user and the new film culture ......................... 43 Scandinavian Film Culture: National and Transnational Patterns ..................................... 53 A natural cultural region? Patterns of co-production and distribution of Scandinavian films .......... 53 The inter-Scandinavian cinema-market: audience patterns and genre-preferences...................... 57 Scandinavian films in a global perspective ...................................................................... 60 Genres and trends in Scandinavian Cinema ..................................................................... 64 Family pleasures: the Scandinavian family film ................................................................ 69 Dealing with reality: contemporary and historical drama in Scandinavia ................................. 72 Crime, suspense, horror and action: Scandinavian genre films ............................................. 79 Challenging artistic worlds: The Scandinavian art cinema ................................................... 86 Growing up in Scandinavia: children, youth and animation ................................................. 94 The Smell of Global Success: The Scandinavian Television Drama .................................... 98 The production of television drama in an inter-Nordic perspective ....................................... 99 Patterns of distribution for Scandinavian Drama Series ..................................................... 107 Small Region in a Global World: Scandinavian Film and Media Culture and the Future Challenge ..................................................................................................................... 114 Cinema and the many digital platforms of films .............................................................. 115 National cinemas – global networks ........................................................................... 117 Methodological Postscript ............................................................................................ 121 References ................................................................................................................... 123 3 List of figures Figure 1. Regional shares of total European cinema market (Lumiere data 2008). Figure 2. Scandinavian films in national cinema and cinemas of Norway and Sweden, total amount of sold tickets 2002-2006. Figure 3. Cinema admissions in Scandinavia, 2002-2006, percentage of national films on home market, Scandinavian market (only NO, SE and DK and European market, EU36 figures). Figure 4. Total public budget for film support in Denmark, Norway and Sweden (2009). Figure 5. Denmark: Feature film support 2003-2009 and co-production. Figure 6. Top 10 Scandinavian films 2002-2006 including Europe36+US (cinema admissions, Lumiere database 2010). Figure 7. Såsom i himmelen (Kay Pollak, 2004, SE/DK co-production). Breakdown of total admissions in national markets, EU27. Figure 8. Såsom i himmelen. Audience segments (Gallup kompas model), based on DK TV data. Figure 9. Såsom i himmelen. Age distribution – target affinity data, value. Figure 10. Män som hatar kvinnor. Segments. Danish TV data. Target affinity, value. Figure 11. Män som hatar kvinnor. Age groups. Danish TV data. Target affinity, value. Figure 12. Dancer in the Dark (Lars von Trier, 2000, DK/FR/SE/DE/NO/NL and ISL). National breakdown of EU27 market shares (NB. Norway is not included, but in Norway the film was seen by 132.000). Figure 13. Number of production companies in Denmark 2002-2010 and number of films produced. 80 companies have produced 177 films. Figure 14. Top 25 Scandinavian film production companies 2002-2006, ranked according to number of films made (minimum three films in the period). Figure 15. Average figures (%) for Scandinavian film consumption, national films. Figure 16. The regional film preferences in Scandinavia, average figures and the 15-17 age group (%). Figure 17. Percentage of people in Denmark, Sweden and Norway that say they often see different film genres. Figure 18. Co-productions in Scandinavia 2002-2006, by country/region. Figure 19. Total admissions for Scandinavian films 2002-2006, cinema and television data, films on own market and on the other three markets and EU36. The number of films included in the SVT, NFI and DFI data on films 2002-2006 (SE: 193, NO: 126 and DK: 110). Figure 20. Top 10 Danish, Swedish and Norwegian films outside there own national market, based on cinema admissions. Figure 21. Regional shares in Scandinavia based on cinema admissions 2002-2006 in EU36, absolute numbers. Lumiere database 2010. Figure 22. Regional shares for Scandinavian films 2002-2006 based on cinema admissions for Norway, Denmark and Sweden in Scandinavia and EU36. Fig 23. Regional shares for films 2002-2006 on TV in Norway, Denmark and Sweden. Figure 24. Average regional film shares in Danish cinemas between 2002-2009. 4 Figure 25. Average age. Target affinity %. Danish films on TV. Figure 26. Segments. Target affinity %. Swedish films on Danish TV. Figure 27. Average target affinity %. Danish films on TV. Segments. Figure 28. Danish family comedies 2002-2006, film and TV figure, Denmark. Figure 29. Min søsters børn. Segments. Target affinity data %, value. Based on Danish TV data. Figure 30. Min søsters børn. Target affinity %, age, based on Danish TV data. Figure 31. Danish films 2002-2006 by genre, data from both Danish cinema and television. Figure 31. Norwegian films 2002-2006 by genre, data from both Norwegian cinema and television. Figure 33. Genres in Swedish films 2002-2006, cinema admissions. Figure 34. Lumiere data. Susanne Bier’s Efter brylluppet (After the Wedding, 2006), regional audience distribution EU 27. Not the big success in the big five countries, but a good spread in countries in Eastern and southern Europe as such. Figure 35. Efter brylluppet (Susanne Bier, DK, Target affinity %, value, Danish TV-data). Figure 36. Ondskan (Mikael Håfström, SE. Target affinity %, value, Danish TV data). Figure37. Jeg er Dina (I am Dina, NO). Target affinity value, segments, Danish TV data. Figure 38. Swedish crime films on DK TV. Segments (target affinity %). Average of all films 2002-2006. Figure 39. Age group representation in Danish TV viewers of Kopps. Figure 40. Segments, Pusher II, Danish TV. Figure 41. Du levande. National market shares in EU27. Lumiere database 2010. Figure 42. Reconstruction. National market shares in EU27. Lumiere database 2010. Figure 43. Emmy Awards for television drama from Danmarks Radio 2002-2009. Figure 44. Most viewed drama series 2004-2009. Source: Nordic Television Audience Measurement/Nordic Public Service Broadcaster Research Departments (Marslev 2010: 4). Figure 45. Indexed share of audience for main drama genres, foreign series. Source: Nordic Television Audience Measurement/Nordic Public Service Broadcaster Research Departments (Marslev 2010: 30). Figure 46. First run vs. reruns in Denmark, selected series. Source: Nordic Television Audience Measurement/Nordic Public Service Broadcaster Research Departments (Marslev 2010: 35). Figure 47. DVD sales in Denmark 2008, genre categories. 5 Acknowledgments This report is commissioned by the European Think Tank on Film and Film Policy under the leadership of Henning Camre in preparation for the Scandinavian Think Tank. The two main responsible authors of the report are professor Ib Bondebjerg and scientific research assistant, PhD Eva Novrup Redvall, both from the Section of Film and Media Studies, University of Copenhagen. Ib Bondebjerg‟s primary focus has been the film analysis, whereas Eva Novrup Redvall has primarily been responsible for the television analysis. Scandinavian partners and co-authors A report of this magnitude could not have been written by only two people. Professor Ove Solum, University of Oslo, and his research assistant Lene V. Hansen have both contributed analytical material on Norwegian film culture and empirical data, just as professor Erik Hedling, associate professor Olof Hedling and PhD Lars Diurlin, all from the University of Lund, have contributed analyses of Swedish film culture as well as empirical data. All of the above mentioned contributors have also co-authored parts of the national sections of this report. Other key sources and extended thanks The empirical data behind the comparative analysis consists of data from already existing sources: the national film institutes DFI, NFI and SFI (where