Eva Novrup Redvall
Biographic Data
| ID | 323586 |
|---|---|
| NAME | Eva Novrup Redvall |
| GIVEN NAMES | Eva Novrup |
| FAMILY NAME | Redvall |
| SIGNATURE | REDVALL E N |
| AFFILIATIONS | University of Copenhagen |
| ORCID | 0000-0003-3270-2595 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 19 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 3 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 3 |
Structured Industry Workshops as Methodology: Researching National Screen Agencies and Policies
This article explores the advantages of ‘structured industry workshops’ as a methodology for obtaining nuanced empirical data about the practices and ‘behind the scenes’ workings of national screen agencies, organizations, institutions and stakeholders. The article argues that structured industry workshops with industry informants in the media industries have five major methodological benefits. The workshops facilitate access to and interest from…
Co-creating content with children to avoid 'Uncle Swag: Strategies for producing public service television drama for tweens and teens at the Danish children's channel DR Ultra
This article explores the strategies for fictional content of the Danish children's channel DR Ultra through a qualitative case study of the production framework behind its successful series Klassen (2016-now). Building on studies of television production and theories of co-creation, the analysis investigates the use of co-creative initiatives during the development and writing as well as the production of programmes. The analysis highlights the …
Does automatic funding suck? The cost and value of automatic funding in small nation screen industries in Northern Europe
Recent years have seen a rise in automatic funding schemes in the screen industries. This article examines the intended and unintended consequences of automatic incentives in smaller screen economies in Northern Europe. It focuses on the Danish Film Institute’s decision to abolish automatic schemes including tax incentives, and compares this case to other screen industries where automatic funding is well established or has been recently introduce…
Danish Television Drama: Global Lessons from a Small Nation
European Film and Television Co-production: Policy and Practice
International Co-production of Nordic Television Drama: The Case of Ride Upon the Storm
Transnational European Television Drama
Dialogues between audience research and production: The history of testing television drama for the Danish Broadcasting Corporation
This article offers a historical analysis of the audience testing of television drama from The Danish Broadcasting Corporation (DR) by the in-house DR Media Research Department from the mid-1990s until 2016. The article investigates how the methods for testing have changed from more traditional focus groups and surveys to include biometric methods (e.g. skin conductance) to measure audience arousal. While audience testing is often primarily viewe…
Film and Media Production as a Screen Idea System
Producing new works of fiction for film and television is notoriously categorized as risky business. As discussed by David Hesmondhalgh, all business is risky, but the cultural industries are particularly risky because they are centred on texts to be bought and sold to audiences that use these texts in highly volatile and unpredictable ways (Hesmondhalgh 2013, p. 27). Developing a new film or television product is a process marked by high sunk co…
Breaking Borders: The International Success of Danish Television Drama
‘Stories and images are among the principal means by which human society has always transmitted its values and beliefs, from generation to generation and community to community’ (Puttnam 1994: 357). These words by David Puttnam point to why TV drama and film matters. Through stories and images we experience and reflect on both contemporary reality and the past. Audiovisual narratives are powerful means to influence and develop our social imaginar…
European Cinema and Television: Cultural Policy and Everyday Life
This book offers comparative studies of the production, content, distribution and reception of film and television drama in Europe. The collection brings together scholars from the humanities and soci
Dogmas’ for television drama: The ideas of ‘one vision’, ‘double storytelling’, ‘crossover’ and ‘producer’s choice’ in drama series from the Danish public service broadcaster DR
This article traces the main concepts in the so-called production dogmas of the in-house drama department DR Fiction at the Danish Broadcasting Corporation (DR), which has recently produced acclaimed series such as Forbrydelsen/The Killing (2007–2012) and Borgen (2010–2013). The idea of putting the writer at the centre of the production process based on the concept of ‘one vision’ is highlighted as important to understanding the nature of the ser…
Scriptwriting as a creative, collaborative learning process of problem finding and problem solving
Developing an original idea into a finished feature film script is often a time-consuming and highly collective process. It is also a learning process. Writing a script is about constantly learning more about what one wants to tell and the best way to tell it. This knowledge can, for instance, come from research, conversations with creative collaborators, or improvisations with actors. In current Danish feature filmmaking this exploration of the …
Dogmas’ for television drama: The ideas of ‘one vision’, ‘double storytelling’, ‘crossover’ and ‘producer’s choice’ in drama series from the Danish public service broadcaster DR
This article traces the main concepts in the so-called production dogmas of the in-house drama department DR Fiction at the Danish Broadcasting Corporation (DR), which has recently produced acclaimed series such as Forbrydelsen/The Killing (2007–2012) and Borgen (2010–2013). The idea of putting the writer at the centre of the production process based on the concept of ‘one vision’ is highlighted as important to understanding the nature of the ser…
Danish Television Drama: Global Lessons from a Small Nation
Does automatic funding suck? The cost and value of automatic funding in small nation screen industries in Northern Europe
Recent years have seen a rise in automatic funding schemes in the screen industries. This article examines the intended and unintended consequences of automatic incentives in smaller screen economies in Northern Europe. It focuses on the Danish Film Institute’s decision to abolish automatic schemes including tax incentives, and compares this case to other screen industries where automatic funding is well established or has been recently introduce…
Co-creating content with children to avoid 'Uncle Swag: Strategies for producing public service television drama for tweens and teens at the Danish children's channel DR Ultra
This article explores the strategies for fictional content of the Danish children's channel DR Ultra through a qualitative case study of the production framework behind its successful series Klassen (2016-now). Building on studies of television production and theories of co-creation, the analysis investigates the use of co-creative initiatives during the development and writing as well as the production of programmes. The analysis highlights the …
Dialogues between audience research and production: The history of testing television drama for the Danish Broadcasting Corporation
This article offers a historical analysis of the audience testing of television drama from The Danish Broadcasting Corporation (DR) by the in-house DR Media Research Department from the mid-1990s until 2016. The article investigates how the methods for testing have changed from more traditional focus groups and surveys to include biometric methods (e.g. skin conductance) to measure audience arousal. While audience testing is often primarily viewe…
Scriptwriting as a creative, collaborative learning process of problem finding and problem solving
Developing an original idea into a finished feature film script is often a time-consuming and highly collective process. It is also a learning process. Writing a script is about constantly learning more about what one wants to tell and the best way to tell it. This knowledge can, for instance, come from research, conversations with creative collaborators, or improvisations with actors. In current Danish feature filmmaking this exploration of the …
Scriptwriting as a creative, collaborative learning process of problem finding and problem solving
Developing an original idea into a finished feature film script is often a time-consuming and highly collective process. It is also a learning process. Writing a script is about constantly learning more about what one wants to tell and the best way to tell it. This knowledge can, for instance, come from research, conversations with creative collaborators, or improvisations with actors. In current Danish feature filmmaking this exploration of the …
Dogmas’ for television drama: The ideas of ‘one vision’, ‘double storytelling’, ‘crossover’ and ‘producer’s choice’ in drama series from the Danish public service broadcaster DR
This article traces the main concepts in the so-called production dogmas of the in-house drama department DR Fiction at the Danish Broadcasting Corporation (DR), which has recently produced acclaimed series such as Forbrydelsen/The Killing (2007–2012) and Borgen (2010–2013). The idea of putting the writer at the centre of the production process based on the concept of ‘one vision’ is highlighted as important to understanding the nature of the ser…
Breaking Borders: The International Success of Danish Television Drama
‘Stories and images are among the principal means by which human society has always transmitted its values and beliefs, from generation to generation and community to community’ (Puttnam 1994: 357). These words by David Puttnam point to why TV drama and film matters. Through stories and images we experience and reflect on both contemporary reality and the past. Audiovisual narratives are powerful means to influence and develop our social imaginar…
European Cinema and Television: Cultural Policy and Everyday Life
This book offers comparative studies of the production, content, distribution and reception of film and television drama in Europe. The collection brings together scholars from the humanities and soci
Film and Media Production as a Screen Idea System
Producing new works of fiction for film and television is notoriously categorized as risky business. As discussed by David Hesmondhalgh, all business is risky, but the cultural industries are particularly risky because they are centred on texts to be bought and sold to audiences that use these texts in highly volatile and unpredictable ways (Hesmondhalgh 2013, p. 27). Developing a new film or television product is a process marked by high sunk co…
Transnational European Television Drama
Dialogues between audience research and production: The history of testing television drama for the Danish Broadcasting Corporation
This article offers a historical analysis of the audience testing of television drama from The Danish Broadcasting Corporation (DR) by the in-house DR Media Research Department from the mid-1990s until 2016. The article investigates how the methods for testing have changed from more traditional focus groups and surveys to include biometric methods (e.g. skin conductance) to measure audience arousal. While audience testing is often primarily viewe…
European Film and Television Co-production: Policy and Practice
International Co-production of Nordic Television Drama: The Case of Ride Upon the Storm
Does automatic funding suck? The cost and value of automatic funding in small nation screen industries in Northern Europe
Recent years have seen a rise in automatic funding schemes in the screen industries. This article examines the intended and unintended consequences of automatic incentives in smaller screen economies in Northern Europe. It focuses on the Danish Film Institute’s decision to abolish automatic schemes including tax incentives, and compares this case to other screen industries where automatic funding is well established or has been recently introduce…
Danish Television Drama: Global Lessons from a Small Nation
Structured Industry Workshops as Methodology: Researching National Screen Agencies and Policies
This article explores the advantages of ‘structured industry workshops’ as a methodology for obtaining nuanced empirical data about the practices and ‘behind the scenes’ workings of national screen agencies, organizations, institutions and stakeholders. The article argues that structured industry workshops with industry informants in the media industries have five major methodological benefits. The workshops facilitate access to and interest from…
Co-creating content with children to avoid 'Uncle Swag: Strategies for producing public service television drama for tweens and teens at the Danish children's channel DR Ultra
This article explores the strategies for fictional content of the Danish children's channel DR Ultra through a qualitative case study of the production framework behind its successful series Klassen (2016-now). Building on studies of television production and theories of co-creation, the analysis investigates the use of co-creative initiatives during the development and writing as well as the production of programmes. The analysis highlights the …
Art (10 works) · Political science (10 works) · Business (9 works) · Drama (8 works) · Sociology (8 works) · Advertising (6 works) · Computer Science (6 works) · Literature (6 works) · Media studies (6 works) · Danish (5 works)