"Valuable to an academic audience for its very clear presentation of the history of the Danish television industry, Eva Novrup Redvall provides well synthesized descriptions of extensive interviews and explains the institutional reasons for how and why screenwriting practices operate in Denmark. The book is also an excellent outline for what one might want to consider in examining a work role within an industrial situation." - Janet Staiger, William P. Hobby Centennial Professor of Communication in the Department of Radio-Television-Film at the University of Texas at Austin, USA 'This book belongs in that tiny group of inspirational analytic works that bring the academy and the industry closer together. With unparalleled access to the inner sanctums of television drama production (including the writers' room itself), Eva Novrup Redvall reveals the conditions of production behind Danish TV dramas. She examines the borrowing of techniques from the US; how they were adapted to a public service context; and how they continue to evolve dynamically. She skilfully uncovers the organisational methods that have enabled Danish TV industry to unlock the creativity of its writers and thus to achieve sustained global success.' - John Ellis, Professor of Media Arts, Royal Holloway University of London, UKVom Verlag:
The Danish Broadcasting Corporation, DR, has enjoyed remarkable success in recent years, winning five Emmy Awards and acclaim for the series The Killing and Borgen. In the first book-length study of this period in Danish television drama, Eva Novrup
Redvall offers unique insights into the production culture at DR, with a specific focus on the role of the screenwriter. Her research also makes a significant contribution to the study of screenwriting by introducing a Screen Idea System that allows for an
in-depth examination of the complex creative collaborations in television production.
The book examines what is currently regarded as a best-practice framework, through detailed case studies of the DR production structure, as well as the mechanics of writers' rooms and 'production hotels'. Redvall argues that while DR has been influenced by the working methods of the US industry, these have been firmly grounded in a public service mindset and the development of the TV series has been driven by the 'one vision' of the head writer. The book is aimed at readers who are curious about Danish television drama in general, as well as students of screenwriting, film and television, and offers an accessible, scholarly account of a key aspect of contemporary Danish television production and its place in the international media landscape.
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