From Versailles to No Man's Land : French broadcasters and the new geopolitical reality of the audiovisual industry
From Versailles to No Man's Land : French broadcasters and the new geopolitical reality of the audiovisual industry
复制标题
从凡尔赛到无人区：法国广播公司和视听产业的新地缘政治现实
DOI：
10.1080/26438941.2023.2288426
复制
发表时间：
2024
影响因子：
0.2
通讯作者：
Kitsopanidou K
中科院分区：
文献类型：
--
作者：
Kitsopanidou K
本文以Capa Drama与魁北克公司Incendo和Zodiak Fiction为Canal+联合制作的连续剧《凡尔赛宫》和法国、比利时和以色列为Arte France和美国Hulu平台联合制作的《无人区》为例，旨在比较连续剧市场全球化和法国制片人和广播公司融入这一新的跨国创意生态系统的两个不同维度。《凡尔赛宫》的制作面临的挑战是使法国传统系列达到英语世界的标准，同时促进法国制作人的财政和艺术创造力，将具有独特故事的系列推向全球市场。然而，《无人区》面临的挑战是制作一部国际化的系列片，以几个文化区域和多语种演员为特色。无论是在广播公司的全球化战略方面，还是在制作过程中提出的创造性甚至跨文化挑战方面，这两种经验都代表了当今系列节目作为视听“全球化”实验室的方式。
Based on the examples ofVersailles, a series co-produced by Capa Drama with the Quebec company Incendo and Zodiak Fiction for Canal+, andNo Man’s Land, a Franco-Belgian-Israeli co-production produced for Arte France and the US platform Hulu, this article aims to compare two different dimensions of the globalisation of the series market and the integration of French producers and broadcasters into this new transnational creative ecosystem. The challenge for the production ofVersailleswas to bring the French heritage series up to the standards of the English-speaking world while promoting French producers’ financial and artistic creativity in launching series with distinctive stories onto a global market. ForNo Man’s Land, however, the challenge was to produce a cosmopolitan series, featuring several cultural areas and a multilingual cast. Whether in terms of the broadcasters’ globalisation strategy or in terms of the creative or even cross-cultural challenges raised by the production process, both experiences are representative of the way series are emerging today as a laboratory of audiovisual ‘glocalisation’.