Nordic noir with an Icelandic twist: Establishing a shared space for collaboration within European co-production
- Submitting institution
-
University of Greenwich
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 28053
- Type
- C - Chapter in book
- DOI
-
-
- Book title
- Script Development: Critical Approaches, Creative Practices, International Perspectives
- Publisher
- Palgrave Macmillan
- ISBN
- 978-3030487126
- Open access status
- Out of scope for open access requirements
- Month of publication
- -
- Year of publication
- 2020
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- In this chapter, I study the practice of television script development within the context of European co- production. The aim of the research is to understand more about the working methods used by the script development team to collaborate creatively across national borders, languages and cultures. A series of unstructured interviews were carried out with key members of the script development team of a European co-production. These interviews were transcribed and analysed and additional interviews were undertaken to explore in more detail some of the initial themes that emerged. Outlines and script drafts that were produced as part of the development process were also analysed. The chapter discusses and interprets the lived experience narrated by the development team and the idea development evidenced in the script drafts that they produced, in relation to three theoretical models of cooperation and collaboration. These are: MacDonald’s notion of the ‘screen idea’ and the ‘screen idea work group’; Novrup Redvall’s concept of the ‘screen idea system’, and Star’s theory of the ‘boundary object’. It concludes that the script development team created a shared space for collaboration that was physical, experiential and conceptual. This multilayered shared space was crucial in enabling them to negotiate effectively a shared understanding of and contribution to the development and execution of the screenplays for the series. I propose that this has wider implications for international co-production and for script development more generally.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
