THE BRIDGE INDUSTRY Flashcards
(35 cards)
Who funded the third season of The Bridge?
The Copenhagen Film Fund. This co-funding resulted in more Danish crew members being employed on the third season.
€1 million grant was received from Creative Europe MEDIA for Series 3 and helped to support and maintain the programme’s high production values.
Where was The Bridge broadcast in the UK?
BBC 4
How did the Radio Times market The Bridge?
Used a front cover image of Saga in her recognisable overcoat with the anchor ‘Hot Scandinavian dramas for cold winter nights’
Why are international co-productions attractive to producers?
The collaboration means that economic responsibilities can be shared and the more contributors, the bigger the production budget.
What is BBC 4’s primary role, according to what they claim?
To reflect a range of UK and international arts, music and culture… should be culturally enriching.
Why may The Bridge have been aired on BBC 4?
It reflects a less mainstream and more niche audience.
Economic context of The Bridge?
The Bridge demonstrates the economic advantages of international co-productions.
The creation of the Nordic Noir brand meant that programmes could be successfully marketed globally.
Establishing the codes and conventions of this style of programme builds a loyal fanbase and reduces the economic risk.
What has globalisation enabled in the television industry?
Globalisation has allowed TV shows to be distributed and consumed worldwide, breaking language barriers and enabling cross-cultural engagement. This includes co-productions and international syndication, greatly increasing reach and revenue potential.
How has BBC Four contributed to the popularity of Nordic Noir?
BBC Four has normalised subtitled foreign dramas for UK audiences, positioning itself as the home of Nordic Noir. It promoted shows like The Killing and The Bridge with trailers and branding that emphasized their quality and unique tone.
What is BBC Four’s remit regarding foreign language content?
According to its 2016 Service Licence, BBC Four is tasked with presenting a variety of international content. It must regularly broadcast subtitled foreign language films and series to reflect global culture and diversity.
Where was The Bridge originally broadcast and who produced it?
The Bridge aired on SVT in Sweden and DR in Denmark. It was co-produced by Sweden’s Filmlance International and Denmark’s Nimbus Film, highlighting the collaborative nature of international productions.
How was The Bridge distributed globally?
ZDF Enterprises, the commercial arm of Germany’s national public broadcaster, handled global distribution. The show reached over 150 countries, a testament to its universal appeal and the success of its marketing.
Name two international remakes of The Bridge.
The show was remade as ‘The Tunnel’ (UK/France) and a US adaptation set at the US-Mexico border, showing its narrative flexibility and global success.
Why are international co-productions economically attractive?
They allow partners to share costs, reduce financial risk, and access larger production budgets. This results in higher production values and broader appeal without burdening one broadcaster.
What economic obligations come with international funding?
Funding often requires productions to hire local talent, film in certain regions, and engage with international broadcasters, ensuring cultural and economic return to the funding bodies.
What did the Copenhagen Film Fund’s involvement result in?
The CFF’s support required the employment of more Danish crew members for Season 3, strengthening Denmark’s contribution and influence over the production.
According to Hesmondhalgh, how do media industries minimise risk?
They use strategies like vertical integration (controlling production and distribution) and formatting products (relying on known genres and stars), which ensure audience familiarity and commercial viability.
How did the BBC employ vertical integration for The Bridge?
The BBC acquired the rights and promoted the show on BBC Four, collaborating with international distributors like ZDF Enterprises to reach a global audience and reinforce its brand.
What is meant by ‘formatting’ cultural products?
It involves creating media products that follow familiar conventions and styles. This predictability reduces risk and increases viewer comfort, especially in complex genres like crime drama.
How did Nordic Noir branding aid audience expectations?
It grouped similar shows under a recognizable brand, using shared themes (e.g., flawed heroes, moody landscapes) to create audience expectations and attract fans of the genre.
What elements made The Bridge typical of crime drama?
It features a murder mystery, investigative leads, enigma codes, flawed characters, and gritty realism—core conventions of crime dramas that appeal to genre fans.
How did the marketing of The Bridge evolve after its establishment?
Initial marketing emphasized genre and uniqueness. Once established, promotional materials focused on recognisable elements like Saga’s character, the soundtrack, and iconic visuals to reinforce brand identity.
How was the show marketed through BBC branding?
Marketing included BBC Four’s reputation for high-quality international drama.
Promos for Season 3 often carried voiceovers or visuals that highlighted BBC Four’s role as the UK home for critically acclaimed Scandinavian dramas, reinforcing trust.
Promos promised audiences a return to familiar themes with tagline such as “The return of Scandinavia’s most iconic detective” played on audience familiarity.
How was the show marketed through the enigmatic lead character Saga?
Marketing materials such as posters, trailers, and promotional interviews increasingly focused on Saga as the visual and thematic symbol of the show.
Her unique look became instantly recognizable and was heavily used in posters and magazine covers.
Season 3’s marketing subtly hinted at a more emotionally vulnerable Saga — a shift from her earlier robotic demeanour, with taglines such as “The past is catching up” creates enigma.
