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Redvall 2013) and on the way in which the Danish public service series can be regarded as presenting a special take on Danish welfare society and gender roles (e.g. This particular production framework has previously been studied focusing on the writing and producing of the series (e.g. In terms of Danish television drama production, the production framework of the Danish Broadcasting Corporation DR has created an impressive streak of popular drama series for DR1 that have also attracted a remarkable degree of international attention. The ambition is to nuance the current discussions of production, texts and audiences and to inspire further studies of Danish television drama from national as well as international perspectives. This special issue of Kosmorama addresses some of these developments and analyses recent Danish television series from a wide range of different analytical approaches. Developments such as these naturally influence how to think of Danish television drama in a rapidly changing television landscape.įrom an academic point of view, there are many interesting developments to explore some as remarkable game-changers, others as interesting variations or continuations of previous conditions. Meanwhile, the focus on ’quality television’ and international niche audiences taking an interest in certain kinds of subtitled content from small nations – not least in what is now commonly discussed as a particular brand of ’Nordic Noir’ – has led to new sources of inspiration and the possibility to reach global audiences. This challenges the established ways that series are normally produced and distributed, while audiences now engage with television fiction in many different ways. The arrival of Netflix and HBO Nordic in the Danish media landscape in 2012 has created a complex mix of traditional public service as well as private broadcasters and new SVOD players.

No longer do we conceive of a distinction between drama targeted primarily at national audiences and drama that also has international appeal.

In terms of production, texts and audiences, the past ten years have seen remarkable changes in how we think about domestic drama production. Gone are the days when Danish television drama was a purely national affair.

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