This book explores how to understand the international appeal of Danish
television drama and Nordic Noir in the 2010s. Focusing on production
and distribution as well as the series and their reception, the chapters
analyse how this small nation production culture was suddenly regarded
as an example of best practice in the international television
industries, and how the distribution and branding of particular series -
such as Forbrydelsen/The Killing, Borgen and Bron/The Bridge - led to
dedicated audiences around the world. Discussing issues such as cultural
proximity, transnationalism and glocalisation, the chapters investigate
the complex interplays between the national and international in the
television industries and the global lessons learned from the way in
which screen ideas, production frameworks and public service content
from Denmark suddenly managed to travel widely. The book builds on
extensive empirical material and case studies conducted as part of the
transnational research project 'What Makes Danish Television Drama
Travel?'