Our methods include:
- Quantitative research on European film and television production, distribution and dissemination (including non-traditional platforms), using both specialist industry reports and publicly available databases;
- Analysis of these data focusing on co-productions, EU-supported productions, productions that travel to different European markets, the genre status of those productions and their success with audiences;
- Analysis of the structures of the European film and television industries, and the processes of transnational collaboration and globalisation;
- Interviews with key industry players, policy-makers, funding body representatives, and the creative teams behind specific productions;
- Studies of cultural and media policy, adopting the methodology of stakeholder analysis, to assess the extent to which specific policies are considered effective and efficient by stakeholders;
- Analysis of film and television drama genres and representations;
- Reception studies, embracing broad statistical analysis of film and television drama viewing on a range of platforms, extensive questionnaire-based surveys about viewing preferences, and audience focus groups in each of the three participating countries.
We will identify 5-7 case studies each of both films and television dramas rooted in one European nation, which have travelled successfully to other European markets. Each case study will have either originated in the UK, Belgium or Denmark, or had a significant impact on audiences in one of those markets. In order to facilitate comparative analysis, the case studies will be selected from one of three genres: contemporary drama, historical drama and the crime thriller. Case studies of television drama might include: The Killing and Borgen from Denmark; Downton Abbey, Lewis, and Wallender from the UK; and Witse, Van Vlees en Bloed and Smaak van de Keyser from Belgium. Film case studies might include: UK-originated productions such as The King’s Speech and In Bruges; the Danish period film A Royal Affair; the Belgian contemporary drama Le Gamin au Vélo; and the various versions of The Girl with the Dragon Tattoo.
Each of the three research teams at York, Copenhagen and Brussels will have specific work packages, themes and focuses, but will also collaborate closely with the other teams. The York team will take responsibility for gathering film data and coordinating the film case studies. The Copenhagen team will take responsibility for gathering television data and coordinating the television drama case studies. The Brussels team will take responsibility for the analysis of cultural and media policy and for the development of new policy recommendations. Each of the teams will facilitate interviews with industry figures and creative workers, access to national data, and the development of audience focus groups within their own countries.