Skip to content
1981
Volume 11, Issue 2
  • ISSN: 2042-7891
  • E-ISSN: 2042-7905

Abstract

This article discusses transnational television and what strategies public service broadcaster NRK Drama has pursued to make the Norwegian crime series travel. was the first Norwegian-language television series bought by a major American cable network, Starz. Using the concept of production values, we argue that NRK has made a series that is able to ride the Nordic noir wave of success while also offering a new northern Norwegian version of the western. These two factors made a good fit for the American market. The series is a result of strategic changes within NRK Drama and a commitment to the private and regional film business. Furthermore, NRK views drama productions as key for reaching audiences and has increased their budgets significantly. The analysis encompasses the industry context, media articles, the ‘North’ as location, the series itself and interviews with important stakeholders.

© 2021 Intellect Ltd
Loading

Article metrics loading...

/content/journals/10.1386/jsca_00045_1
2021-06-01
2026-04-10

Metrics

Loading full text...

Full text loading...

References

  1. Alsos, Lasse Greve. ( 2018;), telephone interview with S. A. Sand and T. Vordal. , 7 June.
  2. Altman, Rick. ( 1999), Film/Genre, , Kindle ed.., London:: Bloomsbury;.
     [Google Scholar]
  3. Appadurai, Arjun. ( 1996), Modernity at Large: Cultural Dimensions of Globalization, Minneapolis, MN:: University of Minnesota Press;.
     [Google Scholar]
  4. Baglo, Cathrine. ( 2011;), ‘ På ville veger? Levende utstillinger av samer i Europa og Amerika. ’, Ph.D. dissertation, Tromsø:: University of Tromsø;.
     [Google Scholar]
  5. Bruun, Hanne. ( 2016;), ‘ The qualitative interview in media production studies. ’, in C. Paterson,, D. Lee,, A. Saha, and A. Zoellner. (eds), Advancing Media Production Research, Basingstoke:: Palgrave Macmillan;, pp. 131–46.
     [Google Scholar]
  6. Caldwell, John Thornton. ( 2008), Production Culture: Industrial Reflexivity and Critical Practice in Film and Television, Durham, NC:: Duke University Press;.
     [Google Scholar]
  7. Cawelti, John G.. ( 1970), The Six-Gun Mystique, Bowling Green, OH:: Bowling Green State University Popular Press;.
     [Google Scholar]
  8. Cawelti, John G.. ( 1999), The Six-Gun Mystique Sequel, Bowling Green, OH:: Bowling Green State University Popular Press;.
     [Google Scholar]
  9. Creeber, Glen. ( 2015;), ‘ Killing us softly: Investigating the aesthetics, philosophy and influence of Nordic noir television. ’, Journal of Popular Television, 3:1, pp. 21–35.
     [Google Scholar]
  10. Drivenes, Einar-Arne,, Hauan, Marit, and Wold, Helge A.. ( 1994), Nordnorsk kulturhistorie: Det gjenstridige landet, vol. 1, Oslo:: Gyldendal;.
     [Google Scholar]
  11. Eichner, Susanne, and Mikos, Lothar. ( 2016;), ‘ The export of Nordic stories: The international success of Scandinavian TV drama series. ’, Nordicom-Information, 38:2, pp. 17–21.
     [Google Scholar]
  12. Elkington, Trevor K., and Nestingen, Andrew T.. ( 2005;), ‘ Introduction: Transnational Nordic cinema. ’, in A. T. Nestingen, and T. K. Elkington. (eds), Transnational Cinema in a Global North: Nordic Cinema in Transition, Detroit, MI:: Wayne State University Press;, pp. 1–30.
     [Google Scholar]
  13. Fickers, Andreas, and Johnson, Catherine. ( 2010;), ‘ Transnational television history: A comparative approach, introduction. ’, Media History, 16:1, pp. 1–11, http://dx.doi.org/10.1080/13688800903395411. Accessed 28 May 2021.
     [Google Scholar]
  14. Filmfond Nord ( 2017;), ‘ Monstersuksess i utlandet for Rein Film. ’, https://filmfondnord.no/arkiv/?Article=52. Accessed 30 May 2021.
  15. Hansen, Kim Toft, and Christensen, Jørgen Riber. ( 2017;), ‘ Norskov and the logic of place: The soft effect of local Danish TV drama production. ’, Series: International Journal of TV Serial Narratives, 3:1, pp. 11–25.
     [Google Scholar]
  16. Hansen, Kim Toft, and Waade, Anne Marit. ( 2017), Locating Nordic Noir: From Beck to The Bridge, Cham:: Springer;.
     [Google Scholar]
  17. Hastrup, Kirsten. ( 2007;), ‘ Ultima Thule: Anthropology and the call of the unknown. ’, Journal of the Royal Anthropological Institute, 13:4, pp. 789–804.
     [Google Scholar]
  18. Høydalsnes, Eli. ( 2003), Møte mellom tid og sted: Bilder av Nord-Norge, Oslo:: Bonytt;.
     [Google Scholar]
  19. Iversen, Gunnar. ( 2010;), ‘ En westernfilm fra sameland: Ofelaš/Veiviseren. ’, in G. Iversen, and O. Solum. (eds), Den norske filmbølgen: Fra Orions belte til Max Manus, Oslo:: Universitetsforlaget;, pp. 75–93.
     [Google Scholar]
  20. Jensen, Leif Holst. ( 2018;), ‘ NRKs suksess er bransjens suksess. ’, Rushprint , 4 January, https://rushprint.no/2018/01/nrks-suksess-er-bransjens-suksess/. Accessed 24 April 2020.
  21. Køhn, Ivar. ( 2018;), telephone interview with S. A. Sand and T. Vordal. , 13 June.
  22. Lavik, Erlend. ( 2015), Forfatterskap i TV-drama: Showrunnermodellen, one vision – og Kampen for tilværelsen, Oslo:: Universitetsforlaget;.
     [Google Scholar]
  23. Levi-Strauss, Claude. ( 1963), Structural Anthropology, vol. 1, New York:: Basic Books;.
     [Google Scholar]
  24. Levi-Strauss, Claude. ( 1976), Structural Anthropology, vol. 2, New York:: Basic Books;.
     [Google Scholar]
  25. Lismoen, Kjetil. ( 2010;), ‘ En bastion for fall?. ’, Aftenposten, 17 November, https://www.aftenposten.no/kultur/i/wenXG/en-bastion-for-fall?spid_rel=2. Accessed 28 April 2021.
     [Google Scholar]
  26. Lukinbeal, Chris. ( 2004;), ‘ The rise of regional film production centers in North America, 1984–1997. ’, GeoJournal, 59:4, pp. 307–21.
     [Google Scholar]
  27. Mathisen, Mathis Ståle. ( 2018;), telephone interview with S. A. Sand and T. Vordal. , 8 June.
  28. Myklebost, Kari Aga. ( 2010;), ‘ Borealisme og kulturnasjonalisme: bilder av nord i norsk og russisk folkeminnegransking 1830–1920. ’, Ph.D. dissertation, Tromsø:: University of Tromsø;.
     [Google Scholar]
  29. Norwegian Ministry of Culture ( 2007), NRK-plakaten: ‘Noe for alle. Alltid’, Meld. St. 6 (2007–2008), Oslo:: Ministry of Culture;.
     [Google Scholar]
  30. Norwegian Ministry of Culture ( 2015), Open og opplyst: allmennkringkasting og mediemangfald, Meld. St. 38 (2014–2015), Oslo:: Ministry of Culture;.
     [Google Scholar]
  31. Norwegian Ministry of Culture and Church ( 2006), Kringkasting i en digital fremtid, Meld. St. 30 (2006–2007), Oslo:: Ministry of Culture;.
     [Google Scholar]
  32. NRK ( 2018;), ‘ NRK Årsrapport 2017. ’, https://www.nrk.no/aarsrapport/2017/drama-_-arsrapport-2017-1.13991504. Accessed 15 September 2020.
  33. NRK ( 2019;), ‘ NRK plakaten. ’, https://www.nrk.no/informasjon/nrk-plakaten-1.12253428. Accessed 30 May 2021.
  34. Pedersen, Bernt Erik. ( 2017;), ‘ Monster – salg internasjonalt. ’, Dagsavisen, 25 October, https://www.dagsavisen.no/kultur/monster-salg-internasjonalt-1.1045267. Accessed 25 November 2020.
     [Google Scholar]
  35. Pham, Annika. ( 2014;), ‘ Ivar Køhn, NRK: “To be broad, you need to be brilliant”. ’, Nordisk Film og TV Fond , 25 April, https://www.nordiskfilmogtvfond.com/news/stories/ivar-kohn-nrk-be-broad-you-need-be-brilliant/. Accessed 24 April 2021.
  36. Rao, Shakuntala. ( 2010;), ‘ “I need an Indian touch”: Glocalization and Bollywood films. ’, Journal of International and Intercultural Communication, 3:1, pp. 1–19.
     [Google Scholar]
  37. Robertson, Roland. ( 1995;), ‘ Glocalization: Time-space and homogeneity-heterogeneity. ’, in M. Featherstone,, S. Lash, and R. Robertson. (eds), Global Modernities, London:: Sage Publications;, pp. 25–45.
     [Google Scholar]
  38. Sand, Stine Agnete. ( 2017a;), ‘ Different places, different stories? The importance of place in regional film and television production. ’, in E. Bakøy,, R. Puijk, and A. Spicer. (eds), Building Successful and Sustainable Film and Television Businesses: A Cross-National Perspective, Bristol:: Intellect;, pp. 89–107.
     [Google Scholar]
  39. Sand, Stine Agnete. ( 2017b;), ‘ Voices from the peripheries: A study of the regional film and television business in Norway. ’, Ph.D. thesis, Lillehammer:: Inland Norway University of Applied Sciences and NTNU;.
     [Google Scholar]
  40. Skjoldbjærg, Erik,, Breien, Bård,, Langlo, Rune Denstad,, Lie, Anders Danielsen,, Sewitsky, Anne,, Moland, Hans Petter,, Rønning, Joachim,, Holst, Marius,, Jacobsen, Jannicke Systad,, Sandberg, Espen,, Sødahl, Maria,, Christiansen, Anders Baasmo,, Sletaune, Pål,, Trier, Joachim, and Sørhaug, Eva. ( 2012;), ‘ Legg ned NRK Drama!. ’, Aftenposten, 8 December, https://www.aftenposten.no/meninger/kronikk/i/vQAzm/legg-ned-nrk-drama?. Accessed 20 April 2021.
     [Google Scholar]
  41. Sörlin, Sverker. ( 1999;), ‘ The articulation of territory: Landscape and the constitution of regional and national identity. ’, Norsk Geografisk Tidsskrift, 53:2&3, pp. 103–12.
     [Google Scholar]
  42. Steen, Thea. ( 2012;), ‘ NRK Drama vil gi forfatterne mer makt og regissørene mindre. ’, Dagbladet, 16 November, https://www.dagbladet.no/kultur/nrk-drama-vil-gi-forfatterne-mer-makt-og-regissorene-mindre/63034428. Accessed 5 May 2021.
     [Google Scholar]
  43. Syvertsen, Trine. ( 2008;), ‘ Allmennkringkasting i krise – not!. ’, Norsk medietidsskrift, 15:3, pp. 211–35.
     [Google Scholar]
  44. Tinic, Serra. ( 2005), On Location: Canada’s Television Industry in a Global Market, Toronto:: University of Toronto Press;.
     [Google Scholar]
  45. Topola, Kelsey. ( 2013;), ‘ The Wire and the mythology of the western. ’, MA thesis, Saskatoon:: University of Saskatchewan;.
     [Google Scholar]
  46. Waade, Anne Marit, and Jensen, Pia Majbritt. ( 2013;), ‘ Nordic noir production values: The Killing and The Bridge. ’, Akademisk Kvarter, 7, pp. 189–201.
     [Google Scholar]
  47. Waisbord, Silvio. ( 2004;), ‘ McTV: Understanding the global popularity of television formats. ’, Television & New Media, 5:4, pp. 359–83.
     [Google Scholar]
  48. Wright, Will. ( 1977), Sixguns and Society: A Structural Study of the Western, Berkeley, CA:: University of California Press;.
     [Google Scholar]
  49. Bron/Broen ( 2011–17), Sweden/Denmark:: SVT/DR1;.
     [Google Scholar]
  50. Forbrydelsen ( 2007–12), Denmark:: DR1;.
     [Google Scholar]
  51. Gaup, Nils. ( 1987), Veiviseren, Norway:.
     [Google Scholar]
  52. Lilyhammer ( 2012–14), Norway:: NRK1;.
     [Google Scholar]
  53. Mammon 1–2 ( 2014–16), Norway:: NRK1;.
     [Google Scholar]
  54. Monster – brutalt langt nord ( 2017), Norway:: NRK1/Rein Film;.
     [Google Scholar]
  55. Peckinpah, Sam. ( 1969), The Wild Bunch, USA:.
     [Google Scholar]
  56. Skam ( 2015–17), Norway:: NRK1;.
     [Google Scholar]
  57. Sand, Stine Agnete, and Vordal, Thomas. ( 2021;), ‘ “Northern, not Nordic noir”: A Norwegian case study on crime series and strategies for transnational television. ’, Journal of Scandinavian Cinema, 11:2, pp. 157–76, https://doi.org/10.1386/jsca_00045_1
     [Google Scholar]
/content/journals/10.1386/jsca_00045_1
Loading
‘Northern, not Nordic noir’: A Norwegian case study on crime series and strategies for transnational television
Journal of Scandinavian Cinema 11, 157 (2021); https://doi.org/10.1386/jsca_00045_1
/content/journals/10.1386/jsca_00045_1
/content/journals/10.1386/jsca_00045_1
Loading

Data & Media loading...

  • Article Type: Article
Keyword(s): location; Nordic noir; NRK Drama; production values; public service broadcasting; the western; transnational television

Most Cited Most Cited RSS feed

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test