[SOUND] Welcome to this last part of the first lecture, where we are going to deal with Scandinavian television culture. Just as Scandinavian film culture is dominated by public support, Scandinavian television is dominated by public service stations, or PSB stations, as I will call them in the following. The present television culture has also many examples of commercial stations. The Danish PSB main station DR started to broadcast in October 1951, and was followed in 1956 by the Swedish SVT, in 1958 by Finnish YLE, and in 1960 by Norwegian NRK. PSB television can be defined as a model of television paid by the tax or license fee, and not by commercials. The idea is to secure television culture that is both independent of commercial interests and of course, also the state and the political system. PSB broadcasting is defined through a broad set of obligations to serve all parts of the population, and develop programs that cater to all sorts of taste, including minorities. A principle of culture diversity is important. As an example, the Danish Law on DR states the following about public service programming. First, to secure a broad variety of programs and services, including news, information, education art and entertainment. Secondly, to secure quality, versatility, and diversity. Third, to secure freedom of information and speech, and impartiality and objectivity. Fourth, to secure special obligations towards Danish language and culture. And five, to secure a broad representation of art and culture reflecting the diversity of cultural interests in the Danish society. These applications are pretty much the same in all Scandinavian countries. Although, the historical development of the television cultures in Scandinavia vary. In Finland, we see the first commercial channel in Europe, even before PSB television, namely MTV3 in 1957. Finland and Sweden were also the first Scandinavian countries to start dividing its PSB channels into several, with YLE2 in 1965 and SVT2 in 1969. But the major changes in Scandinavian television culture came in the 1980s, where the last monopolies of PSB stations were abandoned and a dual system of commercial and PSB television was developed more broadly. In Denmark, TV2 was established in 1988 with a mixture of commercials and license fee, and the same happened in Norway with TV2 Norway, and in 1996 also TV2. Since 1990, the number of television channels in Scandinavia has exploded. With the digital development of television, a whole new form of television culture with video-on-demand services, and a more individualized viewing pattern is under development. There is a long tradition for both Scandinavian and European co-operation, and corporate arsenal television. Nordvision was established in 1959 to further co-production and collaboration between the Nordic countries. And in 1990, the Nordic film and television fund grew out of this cooperation between the Nordic countries. The fact that the Nordic film and television fund covers both film, and television indicates that the two sectors are now working very much together, both in terms of funding and distribution. A similar development can be seen on a European level, where the European broadcasting union, EBU was formed already in 1954, as an organization aiming at developing collaboration and program exchange between the European broadcasters. In 1990 this television initiative was further developed by the EU initiative media. And the intention of creating a more integrated European television market. This year the European Union gathered all its cultural and media programs under the name Creative Europe. One of the main genres of Scandinavian television is television drama, both in terms of single drama and serial drama. Much more than cinema and film, television drama has been important in gathering the nation in front of the screen. One of the most prominent examples of this is the Danish series in 24 parts, Matador, broadcast for the first time from 1978 to 1981 on DR. The series was written by the popular Danish writer Lise Norgaard, and directed by the master of Danish genre films, Erik Balling for Nordisk film. Based on life in the fictional provincial town, Korsbaek, the series tells the story about how Denmark changed between 1929 and 1947. Seeings through the lives of different families. The series was an instant success with a huge Danish audience. And has been sent seven times and sold in millions of copies of VHS and DVD. In 1986, the series, in one episode, was seen by 3.6 million in Denmark out of a population of 5.5 million. The highest viewing figure ever measured in Denmark for a single program. Historical drama series on television often get very hard viewing figures. In Sweden for instances, Jan Troell's series The Emigrants and New Land from 1971 to 2 based on Vilhelm Moberg's novels. About those people that immigrated to America around the turn of the century became a major success. Television can gather the nation and create a feeling of being together of a national community, and can combine the past and the present in ways that raise debate. Some of the big auteurs in Scandinavian film have created strong television. This is of course, the case when Jan Troell's already mentioned series. But another very interesting example is Ingmar Bergman's challenging series, Scenes From a Marriage, 1 to 6 from 1973 >> [FOREIGN] >> [FOREIGN] >> [FOREIGN] >> [FOREIGN] >> [FOREIGN] Marianne [LAUGH] [FOREIGN] >> [LAUGH] >> Johan [FOREIGN] >> [LAUGH] >> [FOREIGN] >> [FOREIGN] >> Marianne [FOREIGN] [LAUGH] >> [FOREIGN] >> When broadcast in Sweden, and since in other parts of Scandinavia and the rest of Europe. This series created strong reactions and debate. By showing us the tearing apart of a marriage and letting us all experience the dark side of human relationships and love, this series challenged its audience. In 1982 Bergman did it again, with a television version of his childhood memoirs, Fanny and Alexander. A tale divided into a bright and lively part with his theater family, and a part as dark as hell and death in the house of Fanny and Alexander's very severe religious and authoritarian stepfather. Television drama in Scandinavia has very little to do with mainstream television genres, although they also exist, mostly in the form of comedy series and crime series. When the Danish director Lars Voin Trier in 1994, released all his talents onto television, the result was a gorgeous genre mix called The Kingdom. Where thriller, ghost story, satire and comedy met the supernatural. It became a major breakthrough for Voin Trier to a larger natural audience than normal >> [SOUND] [FOREIGN] >> [FOREIGN] >> [FOREIGN] >> [FOREIGN] >> [FOREIGN] [LAUGH] [SOUND] >> [FOREIGN] >> [FOREIGN] >> [FOREIGN] >> [FOREIGN] [SOUND] [COUGH] >> Today, Scandinavian and in particular Danish TV is experiencing an unprecedented international success. But also Swedish crime series are popular abroad. Wallander for instance has been made in several Swedish versions exported to numerous countries, and also remade in a UK version with Kenneth Branagh as Wallander. But Danish television drama since 2000 has received five Emmys for the crime series Unit One from 2002. The romantic comedy series, Nikolaj og Julie from 2003. The crime series, The Eagle from 2005. And the political thriller series, The Protectors from 2009. And finally also for the historical Biopic on Hans Christian Andersen, Young Andersen from 2005. In 2010, The Killing furthermore won the BAFTA prize for the best foreign television drama. So, the Scandinavian television culture had certainly left its mark on also the international television culture. [MUSIC]
