| 1. |
- Hedling, Olof
(författare)
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"För två ostburgare och en Coca-Cola” : Anteckningar om den europeiska film- och TV-produktionens omflyttningar efter 1989
- 2015
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Ingår i: Statsvetenskaplig tidskrift. - 0039-0747. ; 117:3, s. 375-394
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Tidskriftsartikel (refereegranskat)abstract
- This article is a basically a compare and contrast study regarding two different lines of development with regard to the film and television production which has taken place in Europe during the last three decades. On the one hand it examines and evaluates the phenomenon that is the rampant rise of runaway production of international film and television and which has predominantly occurred in East Central Europe since the mid-1990s. On the other, the aims, effects and consequences of the movement of creative industries policy, emanating from the efforts of the British New Labour Government in the late 1990s as well as from certain academics, before being dispersed “virally” is reviewed. The article ends with a brief concluding discussion assessing portions of the respective developments. This final part is inspired by globalization theories, about neo-liberalism, neo-mercantilism and the rise of international governance put forward by British sociologists Richard Giulianotti and Roland Robertson in their work Globalization and Football (2009).
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| 2. |
- Hedling, Olof
(författare)
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Notes on Nordic Noir as European Popular Culture
- 2014
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Ingår i: Frames Cinema Journal. - 2053-8812. ; :6: Mondo Pop: Rethinking Genre Beyond Hollywood, s. 201-214
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Tidskriftsartikel (refereegranskat)abstract
- ‘Nordic noir’ has increasingly become the prevalent term in the English-speaking world when referring to contemporary crime fiction – books, television serials and feature films – from the Nordic countries. With its unexpected international appeal and unforeseen longevity, the phenomenon has been the subject of, for instance, popular guide books and television documentaries for international audiences. The cycle has also attracted academic research which recently has grown into an international field. In this particular article, the genre, and mainly its audiovisual part, will be considered from the perspective of how it has paved the way for new and increasing financial and artistic collaboration within the audiovisual industries, not only in the Scandinavian countries, but also attracting mounting interest from mayor players from the broadcasting and film sectors in Germany, the UK and the US. Additionally, the question of why ‘Nordic noir’ exports so well while most popular culture from the region does not will be posed and discussed. After all, during the last decade or so crime fiction has developed into a major popular culture export in a way that is historically unprecedented, at least with regard to the fields of literature, film and television from the Nordic region.
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| 3. |
- Hedling, Olof
(författare)
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The Entangled Media Geographies of the Nordics : Contemporary Scandinavian Production Practices through the Prism of Audio-visual Nordic Noir
- 2017
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Konferensbidrag (refereegranskat)abstract
- The Entangled Media Geographies of the Nordics: Contemporary Scandinavian Production Practices through the Prism of Audio-visual Nordic Noir.Olof Hedling, Lund UniversityAlthough predominantly contemporary in its outlook, this paper attempts to grabble with a particular development in media history, namely the gradual de-nationalization, or, perhaps more accurately, the increasingly transnational character of contemporary media production in general and the film and television kinds in particular. In a very influential piece of scholarship, Andrew Higson once attempted to set out in what possible terms a national cinema could be defined and discussed (1989). One of Higson’s tentative delineations was with regard to: “establishing a conceptual correspondence between the terms 'national cinema' and 'the domestic film industry', and therefore being concerned with such questions as: where are these films made, and by whom? Who owns and controls the industrial infrastructures, the production companies, the distributors and the exhibition circuits?” As the processes of globalization, conglomeration and the parallel movement towards the individual nation state’s geographical borders becoming ever more permeable, questions like those articulated by Higson, has, however, become increasingly difficult to answer. One way, nonetheless, to attempt to shed light on this knotty field is through the term transnational and its variety of implications.Accordingly, in response to the sometimes bewildering ways in which the term transnational has been used, Mette Hjort, in 2010 attempted to outline what she called a “typology of transnationalisms” – or, in a sense, of entangled, international collaborative practices – in connection with contemporary audio-visual production (2010: 12–33). Hjort’s explicit purpose here was to more precisely illuminate and contextualize the increasingly used concept of transnationalism. As a result, she consequently identified nine specific forms of cross-border collaboration. These forms, moreover, seem eminently usable when describing and examining the increasing practice, both in Hollywood and in world cinema in general, of co-production within the audio-visual field. In this talk, Hjort’s typology will be used and scrutinized in order to shed light on the various production strategies employed during the making of Scandianvian film’s by far most financially successful venture during the last few decades. The widely discussed and distributed The Girl with the Dragon Tattoo (2009) was consequently an international co-production, shot and post-produced at particular locations in Sweden, including at the geographical sites of two major regional film funds. Simultaneously, the production represented collaboration between four mayor public and private broadcasters in Denmark, Germany, Norway and Sweden while also involving two of those countries’ public film funding agencies as well as various film production companies. In addition, the production was able to attract substantial private equity, an increasingly rare occurrence in present both Scandinavian and European film production. Similarly, though nearly all actors were Swedish and the dialogue was spoken in the domestic language of that country, virtually all the so-called “A-functions” behind the camera was being handled by Danes, including a Danish director, director of photography, producer, editor, sound designer, production designer and music composer. The Girl with the Dragon Tattoo – both a feature film and part of the later released Millennium television serial - consequently represents an alliance of different domestic and international organizations and agents informally negotiating their diverse interests in the Swedish and Scandinavian audio-visual production sphere. As a kind of conclusion, some sort of a historical rejoinder to the question of how and why a contemporary individual project can attract such an alliance of diverse agents and organizations will briefly be attempted.BibliographyBondebjerg, I and Redvall, E. N. (2013) “Transnational Scandinavia? Scandinavian Film Culture in a European and Global Context,” in M. Palacio and J. Türschmann (eds.) Transnational Cinema in Europe, Zürich and Berlin: Lit Verlag, pp. 127-146.Elsaesser, T. (2015) “European Cinema into the Twenty-First Century: Enlarging the Context?,” in M. Harrod, M. Liz and A. Timoshkina (eds.) The Europeanness of European Cinema: Identity, Meaning, Globalization, London: I.B. Tauris, pp. 17-32.Hedling, O. (forthcoming) “Contemporary Scandinavian Cinema between Art and Commerce” in R. Stone, P. Cooke, S. Dennison & A. Marlow-Mann (eds.) The Routledge Companion to World Cinema, New York and Oxon: Routledge.Higson, A (1989), “The Concept of National Cinema”, Screen 30 (4), pp. 36-47.Hjort, M. (2009) “On the Plurality of Cinematic Transnationalism,” in N. Ďurovičová and K. Newman (eds.) World Cinemas, Transnational Perspectives, New York and Oxon: Routledge, pp. 12-33. BiographyOlof Hedling teaches film studies at Lund University, Sweden and has published extensively on the phenomena of European film policy and regional film and television production. He has co-authored and co-edited several books. Hedling is a member of the advisory board of Routledge’s new book series Remapping World Cinema: Regional Tensions and Global Transformations and a contributor to the series’ forthcoming flagship volume The Routledge Companion to World Cinema (2017).
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| 4. |
- Hedling, Olof, et al.
(författare)
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The Regional Film Fund as Co-production Crusader - The Case of Film i Väst
- 2019
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Ingår i: European Film and Television Co-production: Policy and Practice. - 9783319971568 - 9783319971575 ; , s. 175-190
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Bokkapitel (refereegranskat)abstract
- A focus in this paper is the issue of possible over-production of European films, as spelled out or implied in a number of reports, chapters, books and doctoral dissertations on European cinema during the last decade. Specifically, the activities of the Swedish/Scandinavian co-producer/regional film fund/public company Film i Väst will come under scrutiny. Among a large range of activities, the fund has facilitated a transition process which has meant that Scandinavian cinema has become marked by the “hybrid states and hyphenated identities” of current European cinema. Additionally, the fund has enabled larger production volumes in Sweden, Scandinavia and Northern Europe during the last two decades.A pivotal query is therefore how the examination of the production activities of an individual regional film fund may illuminate a larger context marked by increasing production and co-production of European films, despite the circumstance that signs of increasing demand are difficult to detect.
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| 5. |
- Hedling, Olof
(författare)
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Some Notes on Present European and Scandinavian Co-production Practices Through the Prism of ‘The Girl with the Dragon Tattoo’ (2009)
- 2016
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Ingår i: ; , s. 1-9
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Konferensbidrag (refereegranskat)abstract
- In a critique of the sometimes confusing ways in which the term transnational has been repeatedly used, Mette Hjort, in 2010 attempted to outline what she called a “typology of transnationalisms” in connection with contemporary audio-visual production (2009: 12–33). Hjort’s palpable purpose here is to more specifically illuminate and contextualize the increasingly more used concept of transnationalism. As a result, she consequently identifies nine specific types of cross-border collaboration. These types, or forms, moreover, seem neatly usable when describing and examining present forms of co-production within the audio-visual field. In this talk, Hjort’s typology will be used and scrutinized in order to shed light on the various production strategies employed during the making of Scandianvian film’s by far most financially successful venture during the last few decades. The widely discussed and distributed The Girl with the Dragon Tattoo (2009) was consequently an international co-production, shot and post-produced at particular locations in Sweden, including at the geographical sites of two major regional film funds. Simultaneously, the production represented collaboration between four mayor public and private broadcasters in Denmark, Germany, Norway and Sweden while also involving two of those countries’s public film funding agencies as well as various film production companies. In addition, the production was able to attract substantial private equity, an increasingly rare occurrence in present Scandinavian film production. Similarly, though nearly all actors were Swedish and the dialogue was spoken in the domestic language of that country, virtually all the so-called “A-functions” behind the camera was being handled by Danes, including a Danish director, director of photography, producer, editor, sound designer, production designer and music composer. In addition, finally, the film’s script was written by two Danish screenwriters who in turn adapted the Swedish bestselling novel that initiated the entire project.The Girl with the Dragon Tattoo – both a feature film and part of the later released Millennium television serial - consequently represents an alliance of different domestic and international organizations and agents informally negotiating their diverse interests in the Swedish and Scandinavian audio-visual production sphere. As a kind of conclusion, some sort of answer to the question of how and why a contemporary individual project can attract such an alliance of diverse agents and organizations will briefly be attempted.
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