The Killing

The Killing is an American crime drama television series that premiered 2007 , on AMC, based on the Danish television series Forbrydelsen (The Crime). 

film was originally danish, however was reproduced in April 3, 2011, in english language – this helped target a more national and global audience, as it gained a larger audience through having a recreating in a different language.

No Offfence

No Offence is a British television police procedural drama on Channel 4, created by Paul Abbott. It follows a team of detectives from Friday Street police station, a division of the Manchester Metropolitan Police (a fictional version of the Greater Manchester Police). Looks at social issues in Manchester

• produced by Paul Abbots company AbbottVision – an independent company – Paul Abbots also wrote the shameless ( an American comedy drama.
• deals with a range of social, cultural and politcal issues arising from comtemporay contexts. – the Manchester police force is used as a microcosm of society – focus of case featuring children with downs syndrome explores the position of people with disabilities in wider society.
• The economic context can be explored through
• patterns of ownership and production and how the product is marketed nationally and globally.in the uk, first e.p was launched with 2.5 million viewers – aired on Channel 4 (Biggest mid week drama for around 3 years)
• the series average remained at 2.5 million and finished 47% up on channel 4s slot average
• In France, the first episode was launched in 2016, feb 26th on the channel France 2 – watched by 5.46 million viewers , 20.4% of tv audience.
• tv series that shows codes and conventions of the police procedural crime drama – combined with aspects of social realism
• genre = crime – allows students to be educated as it enables us to understand and reflect on the dynamic nature of genre.
• miss en scene ( arrange of props, scenery etc)
• provides a wide range of representational areas to explore: gender, location, city, race etc (represents Manchester and its implications of crime.
• The advertising campaigns (trailers, websites at home and abroad) for the series demonstrate how media producers target, attract and potentially construct audiences – we can link this to Cultivation theory (Gerbner)

cast:

Joanna Scanlan – a cast iron cop

Elaine Cassidy – a strong yet impulsive member of the team

Alexandra Roach – equally brillant detective

curran and seaton

• power without responsibility is concerned ( media landscapes has fallen under the control of global media conglomerates )

creaitivity vs commericality

• media industry is driven by the force of creativity and business
• media creatives – writers, directors, photographers – tasked to give us exciting athesticaly pleasing products
• media business managers –

are curran and seaton right in suggesting that mass audience products tend to be sanitised or lightweight?

conglomerate advanatages

• argue that prohibitive costs and risks associated with the production of media products has resulted in the organisation of media companies into vertically and horizontally aligned conglomerates.

COMMERICAL MEDIA – an organisation that makes or distributes products for economic gain. – makes profit for entertainment purposes.

No offence production company (abbotvison, an independent television production company) aired the programme on channel 4, making a profit of

horizontal integration = no offen was made by a independent production company called abbottvison, and has then aired onto the company channel 4.

vertically integration =

the killing: the produced by DR in coproduction with ZDF enterprises ( media company in minz germany)

no offence:

media concentration and media convergence =

The Killing is a detective crime drama that originally premiered on AMC. After two seasons AMC decided to cancel the series, but after a renegotiation between FOX and Netflix

The Killing:

Birger Larsen director

Main cast :

• Inspector Sarah Lund: Sofie Gråbøl
• Inspector Jan Meyer: Søren Malling
• Chief Inspector Erik Buchard: Troels II Munk (episodes 1-11)
• Chief Inspector Lennart Brix: Morten Suurballe (episodes 11-20)
• Troels Hartmann: Lars Mikkelsen
• Mayor Poul Bremer: Bent Mejding
• Rie Skovgaard: Marie Askehave
• Theis Birk Larsen: Bjarne Henriksen
• Pernille Birk Larsen: Ann Eleonora Jørgensen
• Vagn Skærbæk: Nicolaj Kopernikus
• Rama: Farshad Kholghi
• Morten Weber: Michael Moritzen
• Nanna Birk Larsen: Julie Ølgaard

The primary audience, is Swedish people as the series in spoken in swedish.

The secondary audience, In the wake of the successful series, The Killing became another Scandinavian crime hit with British viewers when it was shown on in the spring of 2011. Although subtitled, it attracted more viewers than, scored audience appreciation figures of 94%, and has been described as “the best series currently on TV”. The success has created an interest in all things Danish, and the female detective’s  has been the subject of newspaper articles as well as becoming a sought after online item.

The tertiary audience, As well as the UK, DR also sold the series to a number of other broadcasters worldwide, and The Killing was eventually shown in Australia, Austria, Belgium, Brazil, Germany, Japan, Russia and Spain with varying degrees of success.

Organisations: Produced by DR in co-production with ZDF Enterprises.

Audience theories: Reception theory Stuart Hall … A more conservative audience may respond negatively to the Swedish liberal attitudes to sex, … To Sofie Gråbøl’s sweatered detective in ‘The Killing.

Definitions:

Production = These are the stages that are created in order to produce a finished piece of media.

Distribution = Refers to how the media source is given to its audience (ie online, DVD, videos and E-Books).

Exhibition = This is how the media source is shown to the audience, such as through a tablet screen or a cinema screen.

What organisations (rather than individuals) are involved in the production, distribution & exhibition of this product?

Who is behind the Production?

• There are two versions of this programme: one developed in the US by Netflix and Fox Television Studios and another developed in Danish by Danish production company DR in collaboration with ZDF Enterprises.
• Originally, before the programme was taken over by Fox Television Studios and Netflix, it was produced by a production company called DR in collaboration with ZDF Enterprises.
• The American version of this TV series was originally created by Veena Sud, it was also produced by Fox Television Studios in collaboration with Fuse Entertainment and later taken over by Netflix

How was “The Killing” Distributed?

• In January 2007, it was broadcasted on Danish television for the first time.
• Since being broadcasted on Danish television, it has also been distributed to many countries worldwide.
• There has been many TV shows based on “The Killing” and it has both a Danish and English (US) version.
• The English US version is available on Netflix and the Danish version is available online on Amazon.

What audience theories can be made from this TV show?

Stuart Hall’s theory of reception can be linked to this TV series as there will be 3 types of people: the people who love the series and want to continue watching it, people who may like the series but prefer a different programme and those people who absolutely despise the TV show and prefer to watch an alternative. However, it can be argued that George Gerbner’s cultivation theory can be applied to this TV show as some people may despise it, however, their views might change overtime the more that they see advertisements of the TV show and the more that they hear about people liking the TV show.

Audiences

Primary audience = this would be people who speak and understand Danish as this programme is produced in Danish and would want to watch the TV series again.

Secondary audience = these would be people such as critics and people who aren’t likely to watch the film, however they want to analyse the aspects that go into the TV programme.

Tertiary audience = these are the people that do not want to watch the TV show and they are only watching it because there is a theme that interests them. The tertiary audience for “The Killing” would be people who do not speak/understand Danish and people who like TV shows in the mystery genre. The tertiary audience would not want to re-watch the series again ,unlike the primary audience.

No Offense:

AbbottVision

No Offence is a mainstream television series in which the codes and conventions of the police
procedural crime drama are intertwined with aspects of social realism. Detailed analysis of this
media form including the process through which media language develops as genre will
provide students with an opportunity to understand and reflect on the dynamic nature of genre.

Plot:

Single mother Dinah Kowalska, an off duty detective constable, pursues a murder suspect through the streets of Manchester, only for him to get knocked down and killed by a bus.

Curran & Seaton:

writers directors actors and photographers are tasked to give us exciting innovative and aesthetically pleasing products. while thise we call medias business managers are responsible for ensuring the profitability and comercial viability of products.

culture is controlled by social elites: media is controlled by a minority of wealthy institutions often work for the benefits of themselves

Commercial media: An organisation that makes or distrubutes products for ecenomic gains (Profit).

In the UK, the first episode of No Offence launched with 2.5 million viewers, Channel 4‘s biggest midweek drama launch for more than three years.

Horizontal integration: ownership of subsidiaries that produce similar types of products.

Vertical integration: ownership of subsidaries that enable a media producer to produce, promote and distribute products.

Media concentration/media convergence: A term used to describe the reduction in the number of media organisations that produce products.

What is the difference between a consumer based media regulation system and a citizen based regulation system?

consumer based media regulation is designed principally to encourage media plurality and to ensure that a diversity of broadcasters operate within the media landscape. Allows audiences to be able to access a broad range of content, opinions and ideas. (What you want).

Citizen based regulation is maintaining acceptable standards of content. Content makers are tasked to ensure that accuracy is maintained. (what you need)

What impact did the 2003 Communications Act have on media regulation?

• Allowed consumer based regulation to dominate the media landscape
• superseded the Telecommunications Act 1984
• Created Ofcom. trying to ensure that the media landscape is not dominated by a single organisation.
• Ofcom established institutional structures and roles relating to consumer policy. strikingly little equivalent activity or accountability was forthcoming regarding actions to further citizen interests.
• independent television companies were freed up to produce content that was more commercially viable.
• lacks the civic minded republicanism that had been fostered within previous regulatory frameworks.

What is the drawback of a self-regulated system?

• Allows for wider variety in the media landscape
• Freedom to say and do whatever you want
• newspapers and advertisers are self regulated
• ‘Get away with anything’

• Curran and Seaton argue that the UK government is partially responsible for the widespread domination of the media landscape by some large conglomerates. – This links to No Offence because Channel 4 ed the show therefore the UK can be responsible for the widespread of the domination of media.
• Money wins, while audience size and audience can share determine content. – Money is the primary reason these shows are made (to make profits)
• Successful media formats are often replicated to deliver to mass audiences. 
• Commercial broadcasting is based on the sale of audiences to advertisers. 
• The success of horizontal and vertical integration means that most commercial print, film television based media in America and the UK is now controlled only by 6 global players
• Horizontal integration of large conglomerates can make profits larger whilst reducing production costs.

 Capital and Deutschland 8

Capital

Capital won the best TV movie/mini-series award at the 44th International Emmy Awards.^[10]

commissioned and originally broadcast by the BBC which gives the series brand identity internationally – particularly through its subsidiaries BBC America and BBC Worldwide

Kudos, the independent producer of the series, specializes in TV series which can be sold or remade for the US market, making it typical of contemporary media institutions that operate globally rather than nationally

Freemantle (international production and distribution company), Pivot TV (US), and BBC Worldwide all in deals to distribute the series globally

promoted in the UK as a ‘state of the nation’ event series

themes and setting are also constructed to appeal to an international audience: setting includes recognizable London iconography, familiar to an international audience from film and TV. Themes span the domestic and global – family melodrama, romance as well as reference to the economic crash, terrorism, and migration

the series combines the national style of social realism with the generic conventions of the crime drama and focus on a crime to be solved

multi-cultural, a multinational cast of characters addresses an international audience with diverse cultural experiences.

Deutschland

distributed by Freemantle, a British production and distribution company, subsidiary of RTL media, a global company which is designed to target an international audience 

it is a co-production of AMC Networks, SundanceTV (US) and RTL Television (German and American), positioning it to exploit the national and global market

AMC and RTL were able to develop the series in the context of new opportunities for distribution and exhibition – e.g. the Walter Presents platform in the UK, which is a subsidiary of C4, exploiting broadcast and digital opportunities

focuses on German – and European – history and politics

the cast of relative unknowns – even in the country of production – were still used to promote the series through the focus on young, visually appealing male and female leads

• themes and setting are constructed to appeal to an international audience through the familiar narrative tropes of an ‘innocent abroad’ and the “Romeo and Juliet” romance. The series is visually stylish using a familiar postmodern style which exploits the current popularity of retro styles in fashion and music

• exploitation of social media; part of the Sundance TV marketing strategy was the use of historical sliders, live-tweeting of the program by the actress who played the lead character, playlists of 1980s music linked to Spotify and through the Twitter account.

With reference to Witnesses (Les Temoins, France) and The Missing (UK).

 Witnesses (Les Temoins, France):

product of French public service broadcaster – France 2 –  associated with quality, serious drama in continental Europe

France 2 was able to develop the series in the context of new opportunities for distribution and exhibition – e.g. the Walter Presents platform in the UK which is a subsidiary of C4, exploiting broadcast and digital opportunities. Series distributed in US, Australia, Europe

style, content and characters of the series deliberately designed to replicate international success of Nordic Noir in order to target audiences beyond the national

The Missing contains a mix of French regional, local identity with more familiar genre conventions and characters

the series was marketed using familiar (to national audiences) actors but focused on the familiar iconography of the thriller and horror aspects abroad

the postmodern, hyperreal style is fashionable; internationally recognizable, and popular.

• Curran and Seaton suggests that a second and equally turbulent wave of ownership consolidation took place in the latter half of the twentieth century when economic globalisation and the widespread deregulation of the media industry reduced the number of national press titles in the uk to just 11 publications.
• Commercial broadcasters need to secure long term advertising revenue to survive programming.
• Curran and Seaton argue that the Uk government policy is responsible in part, for the widespread domination of the media landscape by huge conglomerates.
• The power of concentrated media ownership has forced political parties to form cosy relationships with media moguls in order to get favourable press coverage
• commercial media has not been allowed to dominate the Uk television and radio markets completely. The BBC as a public service broad caster funded through the television licence fee operates without the need to attract advertising revenue to fund programming
  

IDENTIFY 5 BULLET POINTS FROM THIS HAND OUT THAT COULD BE USED IN AN ESSAY ON TRANSNATIONAL TELEVISION PRODUCTION.

• Money wins, while audience size and audience share determine content.

• Commercial broadcasting is based not on the sale of programmes to audiences, but on the sale of audiences to advertisers.

• The sucess of horizontal and vertical integration means that most commercial print, film television based media in America and the UK is now controlled by just 6 global players – CBS, Comcast, Disney, News Corporation, Time Warner and Viacom.

• Horizontal integration of large conglomerates can maximise profit whilst reducing production costs. On the other hand, Vertical integration is the ownership of subsidiaries that enable a media producer to produce, promote and distribute products.

Endemol Shine UK (branded as EndemolShine UK and formerly Endemol UK Ltd) is one of the largest independent media producers in the United Kingdom. The company is part of Banijay Group, a worldwide network of production companies spanning 22 countries.

• Advantages of PBSs as they are not reliant on advertising to fund production nor do they make products for commercial gain.

• Commercial Media – An organisation that makes products for profit –
• Horizontal Integration – Endemol Shine UK owns the Kudos production company and its parent company, Banijay Production company based in France, owns 120 production companies in 22 countries.
• Vertical Integration –
• Media Concentration/ Media Convergence – Kudos is an independent production company owned by Endemol, limiting the amount of co-companies that might have also been used to produce the show which would ultimately reduce overall profit for Endemol.