Program SiFTI conference

on .

 

 

Researching Media Companies Producing Audiovisual Content

 

20-21 April 2017

Inland Norway University of Applied Sciences/Lillehammer

 

 


 

Sponsored by the Norwegian Research Council, the SiFTI project and the Media Production Analysis working group of the IAMCR.

 

HINN logo iamcr NFR logo


DAY 1: APRIL 20

9:00 – 10:00 Registration

10:00- 10:15 Opening speech – Rector Kathrine Skretting

 

Auditorium H:

Keynote 1: 10:15 – 11:15      Amanda Lotz, University of Michigan

 
Linking Industrial and Creative Change in 21st Century U.S. Television
 

 

The U.S. television industry began experiencing profound change in the early 21st century, change that likewise manifest in the programs of the era. My talk explores how and why scripted U.S. television series evolved so profoundly at the dawn of the 21st century and what this might tell us about the continued disruption introduced by internet-distributed television. The talk identifies the industrial practices that propelled and challenged this change and examines how the conditions of creative workers adjusted alongside textual possibilities. Drawn from interviews and archival research, the talk relies on case studies of the production histories of milestone series in this evolution to assess the shifting competitive norms and the consequences of textual innovation for creative workers, commercial media industries, and audiences.

 

 

 

 

 

 

 

 

 

11:15 – 11: 30 Coffee

 

 

SESSION 1: 11:30 – 13:00

P-101

P-102                                

Managing creativity

Politics and media production

 Philipsen, Heidi

 

Three Types of Passionate Company Culture

 

 

Akkan, Göksu Akan

 

Building soft power trough soap operas: The case of Turkish TV shows

 

 

Keulen, Jolien van

 

‘Feeding’ Local Producers: Managing Creativity in Transnational Television Production Networks

 

 

Sand, Stine

 

«Universal stories from a local point of view». Conceptualizing diversity in regional filmmaking

 

 

Lesaunier, Marie-Eva and Sonet, Virginie

 

Prospecting and selecting : How does uncertainty undermines creativity in the business relationships between Broadcasters and independent TV Producers?

 

 

Gober, Greta

 

Gendering media production. What does it mean to be a female journalist working in public television in Poland?

 

Birkvad, Søren

 

The Means and Meanings of Being Independent.Competing Truths in the Television Company STV

 

 

 

Lunch: 13:00 – 14:00

 

SESSION 2: 14:00 – 15:30

P-101                    

P-102

Production of television fiction

Web television and streaming

 

Engelstad, Audun

 

Telenomics: The New Merger Between Film Production and High-End Television Drama

 

Sundet, Vilde Schanke

 

From secret online teen drama to international cult phenomenon: The global expansion of SKAM and its public service mission

 

 

Waade, Anne Marit and Hansen, Kim Toft

 

The German Connection in Nordic noir

 

Skeide, Andreas

 

Social media and journalistic ideology: A comparative case study of two Norwegian web-TV departments

 

 

Andersen, Mads Møller

 

Negotiating Creativity on a Small Budget – Creative Assumptions in DR3’s External TV Commissioning

 

 

Mikos, Lothar

 

Netflix – Marketing, Market, and Production Strategy

 

 

 

 

 Coffee: 15:30 – 16:00

 

SESSION 3: 16:00 – 17:30

P-101                                       

P-102

Production of television fiction

Distribution                               

 

Aitaki, Georgia

 

Private television through the eyes of its storytellers: Production logic and ideologies in Greek television fiction

 

 

Bakøy, Eva and Moseng, Jo Sondre

 

Norwegian film distribution in troubled times

 

Krauβ, Florian

Federal, public-service structures as producers’ challenge: Die Stadt und die Macht and contemporary “Quality series” attempts from Germany

 

 

Rashmi M.

 

Capital in circulation: Changing distribution practices within media content industry in India

 

Verhoeven, Marcel

 

Societal relevance as success factor of TV series; the creators’ perception

 

 

Medina, Margarita and Aurora Labio

 

Content and production companies concentration on Spanish television. The three biggest distribution operators: TVE, Mediaset, Atresmedia

 

 

 

 

 

 

 

 

 

 

 

 

DINNER: 20:00 Hvelvet – Stortorget 1 (Main square), Lillehammer

 

 

                                                  DAY 2: APRIL 21

 

SESSION 4: 9:00 – 10:30

  P-101 

P-102                                                

Film production                                        

Methods

Helseth, Tore

Historical studies of film production

 

McNamara, Joshua

CC:, Celtx, and the Voices Inside your Head: An Ethnography of Scriptwriting Practice

Sanders, Willemien

Exploring a new field: documentary impact production in the Netherlands

 

 

Moseng, Jo Sondre

Profiling producers

Kerr, Paul

The Mirisch Company and Corporate Authorship

 

Brun, Elisabeth

Inventing discourse in documentary; the methods behind the NRK-series Our Valley (2013)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

COFFEE 10: 30 – 11:00

 

Auditorium H:

Keynote 2: 11.00 - 12.00   Olof Hedling, Lund University

 
 A Publicly Owned Media Company Co-Producing Audiovisual Content? The Case of Film Väst
 

 

Since the end of the 1960s, a large amount of production companies have been created. A few of these – Zentropa, Filmlance, Yellowbird – may be described as qualified successes, in some instances having been merged with international media conglomerates. In general, however, and as in many European countries, the contemporary production landscape appears volatile and fragmented. The segment is mostly populated by small, comparably fragile producers and production companies who, on their part, have to rely on a select group of mainly public financial sources for support.

 

Searching for continuity, peculiarities, particular traits and larger trajectories in such a production environment, one may have to look elsewhere and examine the entities that represent the stability and longer term perspectives: the public production subsidy agencies, the regional film funds, the transnational support schemes. In this talk, the regional film fund Film Väst (formerly Film i Väst), actually a publicly owned mediacompany, will be put under scrutiny.

 

 

 
 
 

 

 

 

 

 

 

 

 

 

 

 

 

Auditorium H:

Keynote 3: 12:00 – 12:30   Ole Hedemann, Norwegian broadcasting corporation (NRK)

The Use of Audience Insigh in Content Development for a Public Service braodcaster

 

NRK started its Development Department in 2007, with a mission to help NRK becoming a world class producer of content. The heart of the development processes is a strong focus on the audience. Ever since NRK has had success in their home market and are punching above their weight also internationally. This talk focuses on the tools that trigger new shows and the fascinating and bumpy road from idea to screen.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LUNCH: 12:30– 13:30

 

SESSION 5: 13:30 – 15:00

P-101

P-102                                                  

Structures and strategies

Digital challenges

AlNajjar, Abeen

 

Inside the Arab Newsroom: Hierarchy, Structure and Workflow

 

Potter, Anna and O'Regan, Tom

 

Pukeko Pictures and the Kiwi DIY Spirit: building global partnerships

 

 

Meir, Christopher and Cascajosa, Concepción

 

From Galicia to Paris: Bambú Producciones and Global Spanish Television Drama Production

 

 

Holmene, Ingeborg S.H.

 

Paid, owned or earned media?

 

Erdal, Çiğdem and Akemehmet, Elif

 

Catching Up: Braodcasting Industry in Turkey as a Global Format and Show Producer

 

 

Hinkin, Olivia

 

Digital Challenges Facing the Anime Industry

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CLOSING and DEPARTURE: 15:00