Conclusions and policy recommendations<\/strong><\/h3>\nThis report shows that direct policy generation of a transnational European culture through production may be very hard to establish. \u2018Europe\u2019 does not occur as a market or a cultural mindframe in the interviews conducted for this report. Distribution and production is increasingly tied to transnational mechanisms in funding and co-production, but it is difficult to highlight these tendencies as specifically European. Even global institutions, like Netflix, realize that local markets need localized content and communication strategies.<\/p>\n
However, if European policies for media production and distribution should incentivize increased transnational European collaboration across the local and regional identities on the continent, our policy analysis of the Creative Europe TV programme indicate some challenges that policymakers should address. In the period 2014-20, 69% of the grants for TV programming went to only five North-Western European applicants: France, Denmark, the UK, Germany and Sweden. In general, this indicates a bias in the policy incentives in the funding system.<\/p>\n
As the DETECt project\u2019s research area is fiction, our policy analysis focuses on funding for fictional programming (not animation and documentary). In this case, the North-Western bias becomes even more conspicuous, as 77% of the \u20ac44m in fiction award sums distributed in this period have been awarded to production companies based in Sweden (23%), Germany (18%), Norway (12%), Denmark (12%) and France (12%) (see figure 2). While these countries also account for a significant amount of European TV fiction circulating in the EU, altogether, this creates a policy problem, since few and rich countries with well-developed and already interconnected creative sectors are the territories that receive the programme\u2019s benefits of production support and transnational exposure of local co-productions.<\/p>\n
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Figure 2: Fiction grants in the Creative Europe TV programme in the period 2014-20.<\/p>\n<\/div>\n
[\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=”3.5.1″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_text _builder_version=”3.5.1″]References<\/strong><\/p>\nLobato, R. 2019.\u00a0Netflix Nations. The Geography of Digital Distribution.<\/em>\u00a0New York:\u00a0New York University Press.
\n[\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_blurb title=”Researching Transcultural Identities: production perspectives” _builder_version=”3.5.1″ header_font=”Roboto|300|||||||” header_text_color=”#476399″ header_font_size=”16px” body_font=”Roboto||||||||” body_text_color=”rgba(0,0,0,0.6)” body_font_size=”12px” border_width_top=”2px” border_color_top=”#dbbb03″ custom_padding=”10px||30px|”]Crime fiction may establish translocal narratives that emanate from local territories, while style and content may hold topical similarities across cultures.
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