Cathrin Bengesser
Biographic Data
| ID | 337961 |
|---|---|
| NAME | Cathrin Bengesser |
| GIVEN NAMES | Cathrin |
| FAMILY NAME | Bengesser |
| SIGNATURE | BENGESSER C |
| AFFILIATIONS | Aarhus University |
| ORCID | 0000-0003-3203-2253 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 12 |
| WORKS AS AUTHOR | 12 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Audience engagement with comedy films in small European markets’
Comedy Films are a popular genre among audiences in Europe, especially in small European film markets (Higson, 2021a, b; Jones, 2024). Despite its popularity, there is a gap in the empirical study of its audiences, that this paper addresses, by asking (1) How do comedies perform in small European markets? (2) What factors motivate audiences to engage with comedies in those markets? Drawing on a theoretical approach to audiences as active meaning-…
Assessing the distinctiveness of public service catalogues
This article investigates how public service media’s (PSM) distinctiveness becomes evident in their video-on-demand (VoD) catalogues in Denmark, Sweden, Norway, Germany, and the UK, when comparing them to the relevant local, regional, and global non-PSM players in the markets. The analysis builds on the European Audiovisual Observatory’s Lumiere VoD database. The European content in 65 relevant PSM and non-PSM catalogues in the five countries not…
Audiences, content diversity and streaming platforms in small European countries
The rapid growth of streaming platforms and their catalogues has transformed the way audiences engage with content, offering unprecedented content choices. This article delves into the presence of content from small countries on VoDs in Europe and explores how users engage with such content on different types of VoD services. Based on a literature review, an analysis of content availability in European VoD catalogues and the results of qualitativ…
Comparative VOD catalogue research
Video-on-demand (VoD) platforms have become primary spaces for encounters with transnational film and television, particularly among younger audiences. The expansion of global US-owned VoD services like Netflix has generated questions about the availability, discoverability, and prominence of domestic and European content, making the issue of how to analyse VoD catalogues pressing. Two perspectives are prevalent in VoD catalogue research: ‘back-e…
Different diversities
While globally operating SVoDs have discovered identity-based diversity as a branding strategy, diversity has a longer history and broader meaning in public service media (PSM) tied to the foundational ideals of universality and pluralism that oblige PSM to speak to all members of a society and to offer diverse programmes and viewpoints. We investigate: How are these two understandings of ‘diversity’ expressed 1) in legal and policy requirements …
Four types of video-on-demand markets
The European video-on-demand (VoD) market has grown rapidly over the past decade, but differences across European nations persist. While the US-based globally operating players Netflix, Amazon and Disney+ dominate the subscription video-on-demand (SVoD) market, VoD services emerging from the legacy media industries and funded by means other than subscription shaped the early development of the European VoD market. This article maps and compares t…
Young Danish audiences and British screen content
Drawing on survey and interview data from a pilot study undertaken online in Denmark (March–July 2020), this article provides exploratory insights about how young audiences in Denmark (aged 16–34, with a background in higher education) engage with British television and film as viewing shifts from broadcast television to online on-demand services. First, drawing on survey data, we concentrate on consumption habits and genre preferences regarding …
Audiences of popular European television crime drama
This article presents findings of a mixed-methods audience study on consumption patterns and attitudes towards European television crime narratives among European viewers. Based on semi-structured interviews in Denmark, Germany and Italy, and a nine-country online survey (n1321), we asked how, when, where and why European audiences watch crime series, and whether watching non-domestic European crime narratives influences perceptions of the Europe…
Scandinavian success as European policy dilemma
This article surveys the fiction productions that received funding from Creative Europe’s TV Programming scheme 2014–2020. The evaluation shows that most funding went to North-Western Europe with Scandinavia surpassing Europe’s big TV producing nations. The geographical and genre imbalances in the TV scheme must be seen in the light of the long-established close collaboration between Germany and primarily the Scandinavian countries and the profil…
Media-political inroads for Europeanising national cultural public spheres
This article discusses whether European or national-level media policies are suitable for facilitating a Europeanisation of national cultural public spheres. It is argued that current EU media policy initiatives and the activities of globally operating private corporations (e.g. Netflix and HBO) cannot achieve transnational cultural co-imbrication, strengthen horizontal ties among citizens from different countries, or increase the social inclusiv…
Why translations matter - An introduction to Critical Studies in Television's new section 'In Translation
This editorial and interview introduce Critical Studies in Television's new section 'In Translation', which provides translations of non-English-language research in television studies. It addresses how contributions from languages other than English enable adequate understanding of transnational TV phenomena through methods and theory developed on a diversity of objects and contexts. The first translation of Kirsten Frandsen and Hanne Bruun's ar…
Smart Crime Tourism as Multilayered Cultural Encounters
This article investigates the trend of smartphone-enabled screen tourism based on the findings from practice-based research carried out during the development and testing of the locative screen tourism experience ‘DETECt Aarhus’. This work shows how smart screen tourism can facilitate multilayered cultural encounters because it can provide a multifaceted perspective on locations and can motivate people to explore local culture. App-guided tours e…
Media-political inroads for Europeanising national cultural public spheres
This article discusses whether European or national-level media policies are suitable for facilitating a Europeanisation of national cultural public spheres. It is argued that current EU media policy initiatives and the activities of globally operating private corporations (e.g. Netflix and HBO) cannot achieve transnational cultural co-imbrication, strengthen horizontal ties among citizens from different countries, or increase the social inclusiv…
Four types of video-on-demand markets
The European video-on-demand (VoD) market has grown rapidly over the past decade, but differences across European nations persist. While the US-based globally operating players Netflix, Amazon and Disney+ dominate the subscription video-on-demand (SVoD) market, VoD services emerging from the legacy media industries and funded by means other than subscription shaped the early development of the European VoD market. This article maps and compares t…
Audience engagement with comedy films in small European markets’
Comedy Films are a popular genre among audiences in Europe, especially in small European film markets (Higson, 2021a, b; Jones, 2024). Despite its popularity, there is a gap in the empirical study of its audiences, that this paper addresses, by asking (1) How do comedies perform in small European markets? (2) What factors motivate audiences to engage with comedies in those markets? Drawing on a theoretical approach to audiences as active meaning-…
Assessing the distinctiveness of public service catalogues
This article investigates how public service media’s (PSM) distinctiveness becomes evident in their video-on-demand (VoD) catalogues in Denmark, Sweden, Norway, Germany, and the UK, when comparing them to the relevant local, regional, and global non-PSM players in the markets. The analysis builds on the European Audiovisual Observatory’s Lumiere VoD database. The European content in 65 relevant PSM and non-PSM catalogues in the five countries not…
Comparative VOD catalogue research
Video-on-demand (VoD) platforms have become primary spaces for encounters with transnational film and television, particularly among younger audiences. The expansion of global US-owned VoD services like Netflix has generated questions about the availability, discoverability, and prominence of domestic and European content, making the issue of how to analyse VoD catalogues pressing. Two perspectives are prevalent in VoD catalogue research: ‘back-e…
Audiences of popular European television crime drama
This article presents findings of a mixed-methods audience study on consumption patterns and attitudes towards European television crime narratives among European viewers. Based on semi-structured interviews in Denmark, Germany and Italy, and a nine-country online survey (n1321), we asked how, when, where and why European audiences watch crime series, and whether watching non-domestic European crime narratives influences perceptions of the Europe…
Scandinavian success as European policy dilemma
This article surveys the fiction productions that received funding from Creative Europe’s TV Programming scheme 2014–2020. The evaluation shows that most funding went to North-Western Europe with Scandinavia surpassing Europe’s big TV producing nations. The geographical and genre imbalances in the TV scheme must be seen in the light of the long-established close collaboration between Germany and primarily the Scandinavian countries and the profil…
Why translations matter - An introduction to Critical Studies in Television's new section 'In Translation
This editorial and interview introduce Critical Studies in Television's new section 'In Translation', which provides translations of non-English-language research in television studies. It addresses how contributions from languages other than English enable adequate understanding of transnational TV phenomena through methods and theory developed on a diversity of objects and contexts. The first translation of Kirsten Frandsen and Hanne Bruun's ar…
Smart Crime Tourism as Multilayered Cultural Encounters
This article investigates the trend of smartphone-enabled screen tourism based on the findings from practice-based research carried out during the development and testing of the locative screen tourism experience ‘DETECt Aarhus’. This work shows how smart screen tourism can facilitate multilayered cultural encounters because it can provide a multifaceted perspective on locations and can motivate people to explore local culture. App-guided tours e…
Scandinavian success as European policy dilemma
This article surveys the fiction productions that received funding from Creative Europe’s TV Programming scheme 2014–2020. The evaluation shows that most funding went to North-Western Europe with Scandinavia surpassing Europe’s big TV producing nations. The geographical and genre imbalances in the TV scheme must be seen in the light of the long-established close collaboration between Germany and primarily the Scandinavian countries and the profil…
Media-political inroads for Europeanising national cultural public spheres
This article discusses whether European or national-level media policies are suitable for facilitating a Europeanisation of national cultural public spheres. It is argued that current EU media policy initiatives and the activities of globally operating private corporations (e.g. Netflix and HBO) cannot achieve transnational cultural co-imbrication, strengthen horizontal ties among citizens from different countries, or increase the social inclusiv…
Why translations matter - An introduction to Critical Studies in Television's new section 'In Translation
This editorial and interview introduce Critical Studies in Television's new section 'In Translation', which provides translations of non-English-language research in television studies. It addresses how contributions from languages other than English enable adequate understanding of transnational TV phenomena through methods and theory developed on a diversity of objects and contexts. The first translation of Kirsten Frandsen and Hanne Bruun's ar…
Young Danish audiences and British screen content
Drawing on survey and interview data from a pilot study undertaken online in Denmark (March–July 2020), this article provides exploratory insights about how young audiences in Denmark (aged 16–34, with a background in higher education) engage with British television and film as viewing shifts from broadcast television to online on-demand services. First, drawing on survey data, we concentrate on consumption habits and genre preferences regarding …
Audiences of popular European television crime drama
This article presents findings of a mixed-methods audience study on consumption patterns and attitudes towards European television crime narratives among European viewers. Based on semi-structured interviews in Denmark, Germany and Italy, and a nine-country online survey (n1321), we asked how, when, where and why European audiences watch crime series, and whether watching non-domestic European crime narratives influences perceptions of the Europe…
Different diversities
While globally operating SVoDs have discovered identity-based diversity as a branding strategy, diversity has a longer history and broader meaning in public service media (PSM) tied to the foundational ideals of universality and pluralism that oblige PSM to speak to all members of a society and to offer diverse programmes and viewpoints. We investigate: How are these two understandings of ‘diversity’ expressed 1) in legal and policy requirements …
Four types of video-on-demand markets
The European video-on-demand (VoD) market has grown rapidly over the past decade, but differences across European nations persist. While the US-based globally operating players Netflix, Amazon and Disney+ dominate the subscription video-on-demand (SVoD) market, VoD services emerging from the legacy media industries and funded by means other than subscription shaped the early development of the European VoD market. This article maps and compares t…
Audience engagement with comedy films in small European markets’
Comedy Films are a popular genre among audiences in Europe, especially in small European film markets (Higson, 2021a, b; Jones, 2024). Despite its popularity, there is a gap in the empirical study of its audiences, that this paper addresses, by asking (1) How do comedies perform in small European markets? (2) What factors motivate audiences to engage with comedies in those markets? Drawing on a theoretical approach to audiences as active meaning-…
Assessing the distinctiveness of public service catalogues
This article investigates how public service media’s (PSM) distinctiveness becomes evident in their video-on-demand (VoD) catalogues in Denmark, Sweden, Norway, Germany, and the UK, when comparing them to the relevant local, regional, and global non-PSM players in the markets. The analysis builds on the European Audiovisual Observatory’s Lumiere VoD database. The European content in 65 relevant PSM and non-PSM catalogues in the five countries not…
Audiences, content diversity and streaming platforms in small European countries
The rapid growth of streaming platforms and their catalogues has transformed the way audiences engage with content, offering unprecedented content choices. This article delves into the presence of content from small countries on VoDs in Europe and explores how users engage with such content on different types of VoD services. Based on a literature review, an analysis of content availability in European VoD catalogues and the results of qualitativ…
Comparative VOD catalogue research
Video-on-demand (VoD) platforms have become primary spaces for encounters with transnational film and television, particularly among younger audiences. The expansion of global US-owned VoD services like Netflix has generated questions about the availability, discoverability, and prominence of domestic and European content, making the issue of how to analyse VoD catalogues pressing. Two perspectives are prevalent in VoD catalogue research: ‘back-e…
Political science (9 works) · Sociology (8 works) · Business (7 works) · Computer Science (6 works) · Law (6 works) · Cultural Industries and Urban Development (5 works) · Media studies (5 works) · Media Studies and Communication (5 works) · Advertising (4 works) · Art (4 works)