DOCSLIB.ORG

Nordvision Skandinavisk Udgave

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nordvision Skandinavisk Udgave Årsrapport 2018 - 2019 nordvision Skandinavisk udgave Ungt drama hitter: I voldsom vækst s. 32 Nordisk samarbejde: Fire seminarer bliver årligt tilbagevendende s. 46 SVT-faktaformat går nordisk: Stor interesse for ukendte arvinger s. 24 Undersøgende journalistik: Følger historierne sammen over grænsen s. 30 NORDVISION 2018 - 2019 1 10 I redaktionen: Henrik Hartmann (ansvarshavende redaktør) Ib Keld Jensen (redaktør) Tommy Nordlund Indhold Øystein Espeseth-Andresen Lars Schmidt Hansen Oversættelse og korrektur: Anders Ragnar Andersen Introduktion 4 Tilbageblik i tal 6 Tryk: Ny ordførende 8 46 Forside: Line fikser kroppen (Foto: Kristin Granbo, NRK) Børn 10 Bagside: Drama 14 Fakta 20 DR: I forreste række (Foto: DR) Kultur 26 NRK: Heimebane (Foto: NRK) RUV: Hàsetar (Foto: RUV) Undersøgende journalistik 30 SVT: Arvinge Okänd (Foto: Stine Stjernkvist, SVT) Unge og unge voksne 32 Yle: Jarkko och de de döves Amerika (Foto: Petri Vilén, Yle) Nyheder og sport 36 KVF: Fisk & Skips (Foto: KVF) SR: Kolonien (Foto: Simon Moser) Programudveksling 40 20 UR: Du är bäst (Foto: UR) Året der gik 42 30 KNR: Foto: Silje Bergum Kinsten, Norden.org Teknologi 44 Seminarer 46 Overblik og nøgletal 52 32 Kontakt 62 6 14 36 2 NORDVISION 2018 - 2019 NORDVISION 2018 - 2019 3 FORORD Foto: Petri Vilén/Yle Petri Foto: Samarbejdet gør os alle til vindere I 2019 har Nordvision eksisteret i 60 år. og at vi har haft det største år for nordisk drama nogensinde, når Partnerskabet har udviklet sig og er mere det gælder antallet af samproduktioner i dramagenren. Nordvisionsamarbejdets ambitioner viser sig også i udviklingen nødvendigt end nogensinde. af udbuddet af ungt drama. Mere end ti nordiske samproducerede Stærke partnerskaber er afgørende for medier og ung drama-serier har premiere i 2019. særligt for public service-medier i disse udfordrende Undersøgende journalistik er et andet område, hvor nordisk og tider. Det er, når man slår sig sammen europæisk samarbejde blev nøglen til, at 17 medier i Nordeuropa samtidig kunne afsløre et af de største finansbedragerier i og samarbejder, at man som public service- verdenshistorien nogensinde. udbyder kan producere og udbyde mere, Fokus på samarbejde er også en af grundstenene, når NV-bolagene bedre og billigere indhold. på skift og i tæt samarbejde arrangerer de tilbagevendende seminarer, som har til hensigt at styrke NV–bolagene digitale Erfaringerne taler deres tydelige sprog. I vores samarbejde er kompetencer hos medarbejderne. Fire forskellige seminarer blev devisen “Vi deler det, vi ejer” uden smålig skelen til, hvem der yder afholdt i 2018; SoMe-seminar, Nordic Hack Day, Publicerings Hack mest, eller hvem der får mest. Og vi vil påstå, Og vi vil påstå, at og Festival for Digital Narratives – seminarer, som alle gentages i Nordvisionssamarbejdet har gjort alle partnere til vindere. 2019. Evalueringer fra disse seminarer tyder på, at det giver god Nordvisions-samarbejdet har gjort alle partnere til vindere. mening at dele de bedste erfaringer fra vores møde med den Ingen af de nordiske public service-udbydere kan løse de mange digitale virkelighed. Der findes ikke efteruddannelser, der i så teknologiske og konkurrencemæssige udfordringer alene. Det er, koncentreret form bibringer ny viden og skaber uvurderlige når vi koordinerer information, strategier og løsninger, at vi hver kontakter på tværs af bolagene. især kan styrke vores nationale positioner. Andre gode samproduktioner, spændende udviklingsprojekter, Et af eksemplerne er det markant styrkede samarbejde omkring interessante programudvekslinger og nyttige ekspertgruppemøder nordisk drama. Minimum tolv nye nordiske dramaserier i 2018 og tolv fra 2018 kan man læse om i denne årsrapport, som alle har den nye i 2019 – og så fremdeles. Dramaserier, som er tilgængelige i alle de fællesnævner, at de baserer sig på tillidsfuldt og givende samarbejde. nordiske lande i tolv måneder. Alene i 2018 har det betydet, at Efter 60 års samarbejde er den store styrke ved Nordvisions- NV-bolagene har investeret rekordstore beløb i hinandens drama, samarbejdet, at alle partnerne forsat ser og oplever den gensidige fordel, hvilket betyder, at samarbejdet lever i bedste velgående. Marit af Björkesten Direktør og ansvarlig chefredaktør for Svenske Yle og ordførende for Nordvision 2016 - 2018 “Stærke partnerskaber er Jarkko Keränen, som selv er døv, viser på sit roadtrip til USA, at hans Øyvind Lund afgørende for medier og særligt for handicap ikke er nogen hindring for at Mediedirektør i NRK og ny ordførende for Nordvision 2019 - 2021 public service-medier i disse rejse ud i verden. Dokumentarserien i fem episoder fra Yle er udvekslet til de Henrik Hartmann udfordrende tider.” andre nordiske bolag. Generalsekretær i Nordvision NORDVISION 2018 - 2019 5 nordmænd så med i 78 minutter i gennemsnit, da Norges mest elskede eventyrer Lars Monsen vandrede i fjeldene i fire uger fulgt af hundreder af interesserede og 30 tv-folk med specialbygget live sendeudstyr. Begivenheden markerede 10-året for introduktionen af slow-tv. 4912 Så mange udvekslede programmer 68.000 DR Harden, Tine Foto: og samproduktioner havde VISNINGER FIK WEBARTIKLEN ’ANDRÉS ESCOBAR SCOREDE Nordvision samlet set sidste år. SELVMÅL. SÅ BLEV HAN DRÆBT’ HOS NRK. ARTIKLEN VAR Det gør 2018 til det næstbedste år i Nordvisions snart 60-årige EN AF 12 SÆRLIGT VELRESEARCHEDE ARTIKLER, SOM NRK 77 historie. OG DR’S SPORTSREDAKTIONER SAMARBEJDEDE OM OP lande verden TIL VM I FODBOLD. ”SAMARBEJDET HAR GIVET OS GODE over viser Sammenlagt Programudveksling Samproduktioner VINKLER OG EN BREDDE OG TROVÆRDIGHED, SOM IKKE DRs dramaserie 5.102 4.911 4.912 4.911 KAN REDUCERES TIL TAL ALENE,” SIGER PROJEKTLEDER ’Herrens Veje’. 4.849 HENRIK BRATTLI VOLD, NRK SPORT. 3.422 3.285 3.248 2.823 Foto: Øistein Grønvold (bragt 23. februar) 1.000.000 Store dele af Afrika, Australien, 2.279 har downloadet New Zealand og en lang række 1.626 1.664 europæiske lande har også set 1.427 SVTs Duo-app, som eller skal se religionsserien om præstefamilien Krogh. Lande 2015 2016 2017 2018 24 har samlet inter- som Burkina Faso, Angola, lande har nu produceret deres TIMER aktivitet omkring Elfenbenskysten, Ghana, DR egen version af NRKs dunder- Congo og Zimbabwe har allerede succes Skam. Det betyder, at Så længe lå Yles realtids-drama sine programmer. vist serien, der indbragte seere i Tyskland, Frankrig, ’Karma’ om tre teenagepiger på Appen giver Lars Mikkelsen en Emmy for Spanien, Italien, Belgien, Holland Instagram, inden det automatisk bedste hovedrolle. og Østrig får nationale blev slettet. Thrilleren var delt mulighed for at være versioneringer af unge-dramaet. op i hundrede 15-sekunder lange med i konkurrencer, Alle har bestilt to sæsoner. klip. Hyppe Salmi, producent for Yle Drama, vurderer, at det er deltage i debatter første gang i verden, at nogen har og stemme i lavet drama til Insta Stories. Foto: Shoot Haley. afstemninger. 6 7NORDVISION 2018 - 2019 NORDVISION 2018 - 2019 7 (Foto: Spark A/S) (Foto: Brillebjørn, Spark / NRK Minimello, SVT Labyrint, SVT og NRK Øyvind Lund, Mediedirektør i NRK og ny ordførende En betydelig del af samproduktioner mellem Nordvisionslandene foregår traditonelt på børneområdet. Ny ordførende: sig i hele tiden at være til debat, og at der også følger et stort ansvar ”Nordvisionssamarbejdet er efter min mening det bedste eksempel Vi er i konkurrence med for, at NRK hele tiden skal kunne tilpasse sig befolkningens brugs- på nordisk samarbejde, der rent faktisk virker. Gennem samproduk- mønster og foretage de nødvendige ændringer i virksomheden. tion, indholdsudvikling og deling af strategisk viden hjælper vi hinan- verdens bedste Public service-bolag i Norden har store udfordringer, men også store den med at styrke den nordiske kultur på tværs af landegrænser. styrker, siger Øyvind Lund. I en tid, hvor globale aktører tager et stadig stærkere greb om ”I en tid, hvor falske nyheder og øget skepsis over nyheder om, brugere, formår vi at levere relevant og attraktivt indhold, skabt i NRKs mediedirektør Øyvind Lund er fra 1. januar På det seneste møde for de nordiske mediedirektører i Stockholm hvad der egentlig er sandt eller falsk, der tror jeg, at public service- en nordisk sammenhæng. Det er vigtigt både for nordisk sprog og 2019 tiltrådt som ny ordførende for Nordvision. den 30. november 2018 vedtog man, at Øyvind Lund overtager ord- udbydere kan spille en vigtig rolle som en fælles arena med stor kultur, og vi har nu så mange gode eksempler på, at godt fortalte troværdighed og tillid. Det kræver, historier kan leve godt i alle de I dette interview fortæller han om sit syn på førerskabet efter Marit af Bjørkesten, direktør i Svenske Yle, som har været ordførende i perioden 2016 – 2018. at vi håndterer denne opgave klogt, nordiske lande. ” konkurrence, teknologiudviklingen, public og det kræver tilsvarende en klog Ifølge Øyvind Lund går vi service-medier og om retningen for Indhold, publicering og teknologi håndtering fra de politikere, der I en tid, hvor globale aktører tager ind i en periode med en endnu Nordvisionssamarbejdet de kommende år. Netop tilbagevendt fra en periode som fungerende teknologi- sætter vores rammer, og som altid et stadig stærkere greb om brugere, stærkere konkurrence fra direktør, ser Øyvind Lund endnu klarere behovet for et endnu skal huske at understøtte vores udenlandske aktører, samtidig Af Henrik Hartmann tættere og styrket samarbejde på tværs af indholdsproduktion, redaktionelle uafhængighed”, siger formår vi at levere relevant og med at den teknologiske publicering og teknologi. Øyvind Lund
Load more

Recommended publications
  • Annual Report 2016 - 2017 English Edition
    ANNUAL REPORT 2016 - 2017 ENGLISH EDITION NORD VISION Nordvision 2016 - 2017 Published by Nordvision Design Lars Schmidt Hansen Editorial team: Henrik Hartmann (editor in chief) Kristian Martikainen Øystein Espeseth-Andresen The annual report can be found at nordvision.org Cover photo front: DELHIS VACKRASTE HÄNDER / SVT and Anagram Photo: Janne Danielsson BEDRAG / DR Photo: Christian Geisnæs SKAM / NRK Cover photo back: PRISONERS / RUV and Mystery Productions BLIND DONNA / Yle Photo: Joonas Pulkkanen FRÖKEN FRIMANS KRIG / SVT Photo: Peter Cederling Foreword 2016 saw a breakthrough in two cooperative areas for Nordvision: We launched a major digital cooperation around Euro 2016, and we also established an important technological cooperation between NRK and DR for a radio app. The general media-technological development is both a challenge and a great opportunity for us. On the whole, it is positive to see new and excit- ing digital and publishing cooperation projects based around technology, which, by their very nature keeps us moving forward. Overall, 2016 was the best year ever based on the number of programmes and hours generated by collaboration within the Nordvision partnership. For co-productions, the cooperation rose by 13%, an impressive figure considering how challenged the public service has been in recent years financially, politically and from global players. Strategies and promising visions for the future are all well and good, but it is the specific programme collaboration we need to measure Nordic cooperation with. Once again, we can enjoy the fact that the many programme groups and people working on programme sharing have succeeded in achieving excellent results. There are numerous notable projects from 2016, and many new projects on the horizon.
    [Show full text]
  • 2010 Twitter: #PE10 #TVD01
    TV DOCUMENTARY 01 Leuven Hulp At the beginning of 2009 a number of prisoners from the Leuven Help auxiliary prison in Leuven took part in a theatre workshop. The improvisations and rehearsals within the prison walls were filmed over a period of three months, culminating in a performance in front Belgium of an audience. For three months prisoners were filmed, often day and night - including in the cells, in which they were locked up 22 hours a day. The viewers are thus privileged witnesses of the day-to-day life of Entering organisation: Nico, Bogdan, Dilges, Christos, Peter, Antonio and Ali. They see Vlaamse Radio- en Televisieomroep - VRT them as they walk round the prison courtyard, as they go about the Contact: Franky Audenaerde tasks they are given to do and in their cells. They see them during Email: [email protected] the day, but also during the long nights. They observe their troubled relationship with the outside world, their often hopeless situations Author/s: and their survival strategies. Joeri Weyn, Yoohan Leyssens, Luc Haekens As a viewer you are constantly subjected to a conflict of feelings: on Directors: Joeri Weyn, Yoohan Leyssens, Luc Haekens the one hand you empathise with the person, on the other hand you Camera: Joeri Weyn & Yoohan Leyssens cannot avoid the reprehensible, often violent deeds of the criminal. Commissioning editor: Michel Vanhove Nico says to theatre-maker Thomas, ‘You often say ‘experienced’ but Email: [email protected] you should see it as ‘committed’. Dilges raps in his cell, ‘You know, Production company: Woestijnvis but you do it anyway, yo’.
    [Show full text]
  • Eurovision Song Contest Is Not Just a Pop Song Competition: Often, It Is a Musical Manifestation of Political and Social Issues of Great Significance
    60TH ANNIVERSARY CONFERENCE 24 APRIL 2015 #Eurovision60 The Eurovision Song Contest is not just a pop song competition: often, it is a musical manifestation of political and social issues of great significance. Melissa Scott ,, “New Europe, Center Stage - Orientalism and Nationalism in the Eurovision Song Contest”, Midway Review 2011 2 INTRODUCTION In 1956 the European Broadcasting Union (EBU) created the Eurovision Song Contest to foster closer ties between nations and to advance television technology. In 2015 the 60th Eurovision Song Contest will be held in Vienna. Over the past six decades the Eurovision Song Contest has created a European identity far beyond the confines of political unions and continental boundaries. The EBU is marking the event's 60th anniversary by celebrating not just the Contest’s musical achievements but also its impact on the European public sphere in areas such as forming national and European identities, embracing diversity and building cultural insight and understanding. ABOUT THE EBU The European Broadcasting Union (EBU) was established in 1950 and is now the world’s foremost alliance of public service media (PSM) with 73 Members in 56 countries in Europe and beyond. Between them, they operate over 1,700 television channels and radio stations reaching one billion people in around 100 languages. The EBU's mission is to safeguard the role of PSM and promote its indispensable contribution to society. It is the point of reference for industry expertise and a core for European media knowledge and innovation. The EBU operates EUROVISION and EURORADIO. EUROVISION is the media industry’s premier distributor and producer of top-quality live news, sport, entertainment, cultural and music content.
    [Show full text]
  • Nordic Young Adult Drama Y12
    NORDIC YOUNG ADULT DRAMA Y12 Young adult drama The Nordic public service media companies DR, NRK, RUV, SVT and Yle have in recent years been renowned for outstanding Nordic drama productions. High quality drama with a clear local anchoring and strong public service ambitions has become one of our distinguishing trademarks. The Nordic partners also co-produce many youth / young adult drama series a year. You will find them in this catalog. Most series have 12-month rights in the Nordic region. Co-producing or sales is handled via the main producer, the respective production company or a sales unit. You are welcome to contact the Nordvision Secretary in Copenhagen for more information see www.nordvision.org 4 Y12 2018 8 DOGGYSTYLE / DR 10 17 / NRK 12 DILAN & MOA (FORMAT) / SVT Y12 2019 14 DOGGYSTYLE 2 / DR 16 NOIA / DR 18 18 / NRK 20 NUDES / NRK 22 THE CHOSEN ONES / SVT 24 EAGLES / SVT 26 THE PARTY / SVT 28 IN THE BATHROOM / SVENSKA YLE 30 VACUUM / SVENSKA YLE 6 7 Y12 2018 DOGGYSTYLE DR The series tackles questions about growing up. You grow apart from your family, in and out of relationships. You try to be something and to become somebody, and suddenly you realized, that you forgot to be someone. Original title: Doggystyle Broadcast company DR Co-production partners NRK, Svenska Yle Production company DR Distribution DR Sales / [email protected] Launch Year 2018 Episodes and duration 10 x 15 min. 9 Y12 2018 17 NRK 17-year-old Abdi, a Norwegian-Somali guy, gets a message that in 17 days, he will be traveling to his father’s home country – without a return ticket.
    [Show full text]
  • Guide – Applying for Nordvision Funding Updated 11.10.2018
    Guide – applying for Nordvision funding Updated 11.10.2018 The application process for Nordvision funds takes place on nordvision.org. Check the website for information on current application rounds and deadlines. Before filling out the form, please read this short guide to avoid problems during the application process. For questions about and help with the application process, please contact Henrik Hartmann ([email protected], +45 24 24 83 05) or Øystein Espeseth-Andresen ([email protected], +45 28 54 40 05) at the Nordvision Secretariat. Tracking your application After you’ve submitted your application form, you can find all the information about your application and check the status of your application under Nordvisionsfonden on nordvision.org. Your project will be marked as submitted when you’ve filled out and submitted the application form. The project will be marked as completed, when the co‐producers have confirmed their commitment to the project, and finally approved, if the Nordvision Fund committee grants the application. You should note that the approved sum can differ from the sum that was applied. If the Nordvision Fund committee decides to put your project on hold until the next application round, its status will remain as completed until the next application round will take place. Then it will automatically be entered for that application process. If the Nordvision Fund committee denies support for your project, it will be deleted from the database. How to apply for funding Before you apply for Nordvision funds …you need to work for one of the Nordvision partnership companies (DR, NRK, RUV, SVT, Yle, UR, SR, KNR or KVF).
    [Show full text]
  • WE DID IT OUR WAY - YLE FORMAT 2016 (Production Name the Norden)
    WE DID IT OUR WAY - YLE FORMAT 2016 (production name The Norden) 1. Synopsis The series looks at the Nordic welfare model from an outsider’s point-of-view. The crash when two cultures and different values and methodics meet, creates entertaining yet highly relevant public service value. In every episode, an outsider visits some Nordic countries and offers his/her perspective on the values and methods of the Nordic society. The tax rates are high in the Nordic countries compared to most other countries. In return the governments take care of fundamental aspects, providing free healthcare and free education for everyone. The Nordic countries are also virtually free of corruption. So all is well – the Nordic countries have perfected the art of creating a well-functioning, sustainable community. Or have they? Have the Nordic countries gone too far? Are the citizens actually ok with the fact that murderers and rapists have hotel-like prisons? Is it plain naive that the police in Norway is not allowed to carry weapons? Why are old people taken to government-run elderly homes, instead of being taken care of by their own families? The main target audience is 20-40 year olds. The format is for broadcast and VOD, with plenty of hooks suitable for social media. 2. Format description in english The success of the show is dependent on three things. a. To identify certain unique aspects in the culture or society of the broadcasting country. b. To identify ongoing discussion/debate regarding that aspect online/nationally c. Successful casting (see below) In the first season we researched the following areas for production in the Nordic countries: 1.
    [Show full text]
  • EN NRK2008.Pdf
    NRK in 2008 / TABLE OF CONTENTS FOREWORD 3 Opening Gala – MINORITIES 68 The Norwegian Opera and Ballet 39 Minorities on NRK 70 NEWS 4 Festivalsommer 40 Migrapolis – a codebreaker 70 US presidential elections 6 FleRe – multicultural recruitment 71 Morning venture 7 DRAMA 41 Multicultural Source Archive 72 Debate on NRK 7 Norsk drama 43 Minorities in selected programmes 72 Online news 9 Himmelblå 43 Kodenavn Hunter 2 44 THE REGIONS 73 CHILDREN 10 Radioteatret – a disturbing factor 45 Hedmark and Oppland 76 Growth for NRK Super 12 Hordaland 76 Melody Grand Prix Junior 12 FACTS 47 Møre and Romsdal 77 AF1 13 Spillet om et OL 49 Nordland 77 Sara 13 Investigative journalism at NRK 50 Rogaland 78 Megafon 14 Spekter 50 Sogn and Fjordane 78 Kometkameratene 14 Brennpunkt 51 Sørlandet 79 Pingpong 15 Faktor 52 Troms and Finnmark 79 Her er eg! 15 Radiodokumentaren 52 Trøndelag 80 NRK Ung 16 Der ingen skulle tru at nokon kunne bu 52 Østafjells 80 Spiller (Gaming) 17 FBI 53 Østfold 80 Sterkere Puls 54 SPORT 18 Østlandssendingen 81 Verdt å vite 54 The Beijing Olympics 20 Schrødingers Katt 54 MEDIA AND CHANNELS 82 Paralympics 21 Ut i naturen 55 A memorable year for NRK 84 The Arctic Challenge 21 NRK1 85 Extreme Sports Week 23 PHILOSOPHY OF LIFE 56 NRK2 85 Athletics 23 Under samme himmel 58 NRK3 86 Football 23 Det tror jeg på! 58 NRK Super 87 Decision about proclamatory programmes 60 CULTURE 25 Radio in 2008 87 Programmes with a Christian profile 60 Urørt 27 NRK P1 88 Two documentary series Kulturnytt 28 NRK P2 88 about philosophy 60 Cultural programmes
    [Show full text]
  • Nordvision Styrket Public Service I Norden
    Nordvision Styrket public service i Norden GUNILLA OHLS Ordförande, Nordvisionen Nordvisionssamarbeidet har en lang og stolt historie. I år er det 50 år siden generaldi- rektørene fra DR, NRK, Sveriges Radio og YLE igangsatte et samarbeid på nyhetssiden, som siden har vokst til å omfatte flere sjangre. Samarbeidet ble formalisert i 1959, så i november 2009 feirer vi Nordvisions 50-års jubileum. RUV kom med som partner fra 1966, KVF fra 1985 og KNR fra 2007. I dag er det SVT som representerer Sverige i mediesamarbeidet, med UR som assosiert partner. Samarbeidet har siden starten hatt som målsetting å styrke det nordiske kulturfellesskap og gi det nordiske publikum tilgang til public service innhold av høy kvalitet. Delte utfordringer aktualiserer samarbeid De nordiske public service bolagene deler i dag de samme utfordringene: Digitalisering, økt konkurranse og en trangere økonomisk situasjon har gitt bolagene økte gevinster av å samarbeide. Sammen får man flere og bedre programmer – og man sparer penger når kostnadene fordeles på flere bolag. Samarbeidet har også en misjon – og en visjon – av mer strategisk karakter: Å søke løsninger på utfordringene ved å være public service virksomhet i et stadig skiftende medielandskap. Samarbeidets innhold Nordvisionssamarbeidet hviler i dag på tre ben: Samproduksjon, utveksling og vitens- deling. Bolagene samproduserer i alle sjangre – fra reportasjesamarbeid i enkeltstående faktaproduksjoner til storslåtte dramaserier. Samproduksjonene finansieres til dels av inntektene fra distribusjon av kanalene. Gjennom Nordvisionsfonden blir inntektene fra nabolands-seeing slik kanalisert tilbake til nye nordiske produksjoner. Bolagene utveksler programmer og nyhetsinnslag med relevans for det nasjonale publikum i de enkelte land. Vidensdeling er en viktig del av det nordiske samarbeid, både produsenter og fagmiljø har stor nytte av å diskutere utfordringer og løsninger på alt fra programutvikling til rettighetsproblematikk.
    [Show full text]
  • Public Service Media in the Nordic Countries
    Nordic Public Service Media Map 1/2012 Public Service Media in the Nordic Countries FACTS & FIGURES Compiled by Eva Harrie NORDICOM The Nordic Media Market The largest media companies on the Nordic market Figure 1 The 25 largest media companies in the Nordic countries 2010 by company revenue 14 Table 2 The 25 largest media companies in the Nordic countries 2010: Company revenue, results and margins 15 Table 3 The 25 largest media companies in the Nordic countries 2010: Company revenue 2000-2010 16 Table 4 The 20 largest Nordic media companies’ total revenue and public service broadcasters’ share 1995-2010 18 Figure 5 The 20 largest Nordic media companies’ and public service broadcasters’ total revenue 1995-2010 18 The largest media companies on the Nordic and respective national markets Table 6 The 20 largest media companies by media revenue on the Nordic media market 2010 19 Table 7 The ten largest media companies by revenue on the Finnish market 2010 20 Table 8 The six largest media companies by revenue on the Icelandic market 2010 21 Table 9 The ten largest media companies by revenue on the Norwegian market 2010 22 Table 10 The ten largest media companies by revenue on the Swedish market 2010 23 Nordic public service companies Figure 11 DR (December 2010) 24 Figure 12 TV 2 / Danmark (December 2010) 25 Figure 13 Yleisradio Oy, YLE (Spring 2011) 26 Figure 14 Ríkisútvarpið ohf., RÚV (December 2010) 27 Figure 15 Norsk rikskringkasting AS, NRK (February 2012) 28 Figure 16 The Swedish public service group: SR, SVT and UR (February 2011)
    [Show full text]
  • Sofia Helin Actor
    Sofia Helin Actor Agents Dallas Smith Associate Agent Sarah Roberts [email protected] +44 (0) 20 3214 0800 Assistant Alexandra Rae [email protected] +44 (0) 20 3214 0800 Roles Film Production Character Director Company THE EMIGRANTS Judit Erik Poppe Film i Västerbotten Lifeboat Iben Josefine Kirkeskov Snowglobe Films The Snowman Mother Tomas Alfredson Drapsmann Films Limited/Universal Pictures Ragnarok Elisabeth Mikkel Brænne Fantefilm/ Film i Väst/ Ghost VFX Sandemose Åsa-Nisse - Wälkom to Fröken Britta Fredrik Boklund Film i Väst/ Lester Film/ Strix Knohult Drama Arn: The Kingdom at Cecilia Peter Flinth AMC Pictures/ Arion the End of the Road Algotsdotter Communications Ltd./ Dagsljus Filmequipment Arn: The Knight Cecilia Peter Flinth AMC Pictures/ Arion Templar Algotsdotter Communications Ltd./ Dagsljus Filmequipment United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company Nina Frisk Nina Frisk Maria Blom Memfis Film/ Film i Väst/ Sveriges Television (SVT) Sökarna - Återkomsten Thorsten Flinck/ Lena Koppel, Bloodbrothers Malena Daniel Fridell Public Art Entertainment/ Scanbox Entertainment/ Svenska Filminstitutet (SFI) Dalecarlians Mia Maria Blom Memfis Film/ Film i Väst Four Shades of Brown Jenny Tomas Alfredson Nordisk Film/TV/ SVT Drama/ Svenska Filminstitutet (SFI) At Point Blank Klara Peter Lindmark Lefwander Kapitalförvaltning AB/ Röde Orm Film/ Röde Orm Filmproduktion AB Television Production Character
    [Show full text]
  • Public Service Broadcasting in the Nordic Countries Public Service Broadcasting in the Nordic Countries
    WE PROUDLY PRESENT Public Service Broadcasting in the Nordic Countries Public Service Broadcasting in the Nordic Countries The Nordic Public Service Broadcasters play an important role in the Nordic media landscape. We are serving all the citizens in our countries with sound, images and online services based on quality and pluralism. The seven broadcasters in the five Nordic countries have the skills, experience and a strong will to actively participate in the development of the information society, as we often have done in the past in introducing new technologies. We will always be at the forefront with the production of European content in our own national languages. We deliver reliable and unbiased news, information and documentaries; we provide educational programmes, entertainment and films; and we take upon ourselves the special responsibility of providing quality content for children and the young and for minorities. Our task is also to provide our services by means of new media. We co-operate with the private content producers, thus stimulating the cultural environment in our region. It is widely agreed that, in order to fulfil the democratic, social and cultural needs of each society, we need strong public service broadcasters. That is why the European Union of 25 countries gives its Member States the right to define and organize their public service broadcasting in their own way (The Amsterdam protocol). The Nordic Public Service Broadcasters are here to meet the challenges from digitalisation, fragmentation, commercialisation and media concentration, and to do it on a sound financial basis. In order to meet the challenges that face us on the European level, we are working together through the Nordic Public Service Broadcasters’ Brussels office, which monitors the EU´s telecommunication, culture and media policies as we go further along the path of the information society.
    [Show full text]
  • A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture
    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 .....................................................................
    [Show full text]