Secrets Pages in DR’s Playbook: the development of audiovisual style in DR series from Gøngehøvdingen (1992) to 1864 (2014)

TY - CONF

T1 - Secrets Pages in DR’s Playbook

T2 - NordMedia 2015

AU - Nielsen, Jakob Isak

PY - 2015/8/15

Y1 - 2015/8/15

N2 - According to former Head of Drama at DR, Ingolf Gabold, one of the “great” and “strange” secrets subtending the success of DR’s TV series is the extremely deliberate work with audiovisual style (Gabold in Nielsen 2012). Here - as elsewhere - Gabold highlights the so-called “paramount-meeting” and the production dogma referred to as “crossover” initiated by his predecessor Rumle Hammerich (Nordstrøm 2004, Nielsen 2004, Redvall 2011). He also emphasizes that a prime reason was strategic – i.e. using deliberate stylistic schemes as a strategy for ‘festival recognition’ which in turn would attract the attention of foreign co-funding partners (Gabold in Nielsen 2012). However, there are more facets to and opinions about this complex development. Current Head of Drama, Piv Bernth, assigns much less significance to the paramount meeting (Bernth 2012) and Anders Refn has argued that certain paradigmatic shifts already took place with Een gang strømer (1987) (Refn in Nielsen 2006). Combining various methods (audiovisual analysis, media systemic analysis [see Hallin & Mancini, Vestergaard 2007] and interview-driven production studies [see Frandsen 2007, Caldwell 2008] that hone in on this particular aspect of DR’s productions by interviewing both management and creative personnel) this paper will discuss the causal mechanisms that subtend the development of audiovisual style in DR series from Gøngehøvdingen to 1864 and will conclude with reflections on the role of DR-series’ style in the age of streaming.

AB - According to former Head of Drama at DR, Ingolf Gabold, one of the “great” and “strange” secrets subtending the success of DR’s TV series is the extremely deliberate work with audiovisual style (Gabold in Nielsen 2012). Here - as elsewhere - Gabold highlights the so-called “paramount-meeting” and the production dogma referred to as “crossover” initiated by his predecessor Rumle Hammerich (Nordstrøm 2004, Nielsen 2004, Redvall 2011). He also emphasizes that a prime reason was strategic – i.e. using deliberate stylistic schemes as a strategy for ‘festival recognition’ which in turn would attract the attention of foreign co-funding partners (Gabold in Nielsen 2012). However, there are more facets to and opinions about this complex development. Current Head of Drama, Piv Bernth, assigns much less significance to the paramount meeting (Bernth 2012) and Anders Refn has argued that certain paradigmatic shifts already took place with Een gang strømer (1987) (Refn in Nielsen 2006). Combining various methods (audiovisual analysis, media systemic analysis [see Hallin & Mancini, Vestergaard 2007] and interview-driven production studies [see Frandsen 2007, Caldwell 2008] that hone in on this particular aspect of DR’s productions by interviewing both management and creative personnel) this paper will discuss the causal mechanisms that subtend the development of audiovisual style in DR series from Gøngehøvdingen to 1864 and will conclude with reflections on the role of DR-series’ style in the age of streaming.

UR - http://nordmedia2015.ku.dk/boxes/detailedprogram/Division_11.pdf

M3 - Paper

Y2 - 13 August 2015 through 15 August 2015

ER -