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European Creative Audiences

Research output: Book/anthology/dissertation/reportReportResearch

Standard

European Creative Audiences. / Pagello, Federico; Schleich, Markus; Jensen, Pia Majbritt; Bengesser, Cathrin Helen; Spaletta, Marica; De Rosa, Paola; Lupoli, Laura.

2020. 90 p.

Research output: Book/anthology/dissertation/reportReportResearch

Harvard

Pagello, F, Schleich, M, Jensen, PM, Bengesser, CH, Spaletta, M, De Rosa, P & Lupoli, L 2020, European Creative Audiences.

APA

Pagello, F., Schleich, M., Jensen, P. M., Bengesser, C. H., Spaletta, M., De Rosa, P., & Lupoli, L. (2020). European Creative Audiences.

CBE

Pagello F, Schleich M, Jensen PM, Bengesser CH, Spaletta M, De Rosa P, Lupoli L 2020. European Creative Audiences. 90 p.

MLA

Pagello, Federico et al. European Creative Audiences 2020.

Vancouver

Pagello F, Schleich M, Jensen PM, Bengesser CH, Spaletta M, De Rosa P et al. European Creative Audiences. 2020. 90 p.

Author

Pagello, Federico ; Schleich, Markus ; Jensen, Pia Majbritt ; Bengesser, Cathrin Helen ; Spaletta, Marica ; De Rosa, Paola ; Lupoli, Laura. / European Creative Audiences. 2020. 90 p.

Bibtex

@book{1c85ce9925874a248596367d9c85122a,
title = "European Creative Audiences",
abstract = "This Horizon2020 deliverable presents some of the work carried out in the frame of the Task 5.2 (“Investigatingaudiences{\textquoteright} response to transcultural European crime narratives”) in the project DETECt. In particular, the report discusses thefindings of the research conducted on the reception of European TV crime dramas, which can be regardedas the most successful form of crime narratives in the contemporary era, especially in considerationof their extensive transnational circulation across the continent.The DETECT research in this area was aimed at exploring how different groups of viewers react to TVcrime dramas produced in other European countries, with the key goals of understanding what kind ofspectators and critics are most interested in them; to examine how these viewers perceive and discuss{\textquoteleft}Europeanness{\textquoteright} of the series; to understand whether or not these shows are appreciated for this specificreason; and to assess to what extent their representation of European reality works is regarded as accurateand meaningful.In order to highlight similarities and differences in the reception of European crime narratives in differentparts of Europe, the study involved seven partner institutions (UNIBO, QUB, UNILIM, AU, UB, UNIDEB,UOI), which allowed the researchers to take into consideration nine different countries: Denmark,France, Germany, Greece, Hungary, Italy, Romania, Spain and the United Kingdom. Thanks to this widegeographical coverage, our study could compare and contrast the audiences and critics{\textquoteright} response fromthe Mediterranean to the Nordic countries, from the British Isles to Eastern Europe. To reach theirobjectives, partners adopted different strategies and methodologies, each designed to collect data andinformation about different kinds of viewers of European TV crime dramas.",
author = "Federico Pagello and Markus Schleich and Jensen, {Pia Majbritt} and Bengesser, {Cathrin Helen} and Marica Spaletta and {De Rosa}, Paola and Laura Lupoli",
year = "2020",
month = sep,
language = "English",

}

RIS

TY - RPRT

T1 - European Creative Audiences

AU - Pagello, Federico

AU - Schleich, Markus

AU - Jensen, Pia Majbritt

AU - Bengesser, Cathrin Helen

AU - Spaletta, Marica

AU - De Rosa, Paola

AU - Lupoli, Laura

PY - 2020/9

Y1 - 2020/9

N2 - This Horizon2020 deliverable presents some of the work carried out in the frame of the Task 5.2 (“Investigatingaudiences’ response to transcultural European crime narratives”) in the project DETECt. In particular, the report discusses thefindings of the research conducted on the reception of European TV crime dramas, which can be regardedas the most successful form of crime narratives in the contemporary era, especially in considerationof their extensive transnational circulation across the continent.The DETECT research in this area was aimed at exploring how different groups of viewers react to TVcrime dramas produced in other European countries, with the key goals of understanding what kind ofspectators and critics are most interested in them; to examine how these viewers perceive and discuss‘Europeanness’ of the series; to understand whether or not these shows are appreciated for this specificreason; and to assess to what extent their representation of European reality works is regarded as accurateand meaningful.In order to highlight similarities and differences in the reception of European crime narratives in differentparts of Europe, the study involved seven partner institutions (UNIBO, QUB, UNILIM, AU, UB, UNIDEB,UOI), which allowed the researchers to take into consideration nine different countries: Denmark,France, Germany, Greece, Hungary, Italy, Romania, Spain and the United Kingdom. Thanks to this widegeographical coverage, our study could compare and contrast the audiences and critics’ response fromthe Mediterranean to the Nordic countries, from the British Isles to Eastern Europe. To reach theirobjectives, partners adopted different strategies and methodologies, each designed to collect data andinformation about different kinds of viewers of European TV crime dramas.

AB - This Horizon2020 deliverable presents some of the work carried out in the frame of the Task 5.2 (“Investigatingaudiences’ response to transcultural European crime narratives”) in the project DETECt. In particular, the report discusses thefindings of the research conducted on the reception of European TV crime dramas, which can be regardedas the most successful form of crime narratives in the contemporary era, especially in considerationof their extensive transnational circulation across the continent.The DETECT research in this area was aimed at exploring how different groups of viewers react to TVcrime dramas produced in other European countries, with the key goals of understanding what kind ofspectators and critics are most interested in them; to examine how these viewers perceive and discuss‘Europeanness’ of the series; to understand whether or not these shows are appreciated for this specificreason; and to assess to what extent their representation of European reality works is regarded as accurateand meaningful.In order to highlight similarities and differences in the reception of European crime narratives in differentparts of Europe, the study involved seven partner institutions (UNIBO, QUB, UNILIM, AU, UB, UNIDEB,UOI), which allowed the researchers to take into consideration nine different countries: Denmark,France, Germany, Greece, Hungary, Italy, Romania, Spain and the United Kingdom. Thanks to this widegeographical coverage, our study could compare and contrast the audiences and critics’ response fromthe Mediterranean to the Nordic countries, from the British Isles to Eastern Europe. To reach theirobjectives, partners adopted different strategies and methodologies, each designed to collect data andinformation about different kinds of viewers of European TV crime dramas.

M3 - Report

BT - European Creative Audiences

ER -