References
- Andersen, M. M. T. (2022). Researching creativity in media industries. Lexington Books.
- Bourdieu, P. (1998). On television and journalism (P. Parkhurst Ferguson, Trans.). Pluto.
- Braun V., & Clarke V. (2022). Thematic analysis: A practical guide. Sage.
- Broe, M. (Director). (2025). Sauna. Nordisk Film Production; New Danish Screen; Danish Broadcasting Corporation.
- Bruun, H. (2016). The qualitative interview in media production studies. In C. Paterson, D. Lee, A. Saha, & A. Zoellner (Eds.), Advancing media production research: Shifting sites, methods, and politics (pp. 131–146). Palgrave Macmillan.
https://doi.org/10.1057/9781137541949_9 - Caldwell, J. T. (2008). Production culture: Industrial reflexivity and critical practice in film and television. Duke University Press.
https://doi.org/10.1215/9780822388968 - Caldwell, J. T. (2014). Post-network reflexivity: Viral marketing and labor management. In D. Mann (Ed.), Wired TV: Laboring over an interactive future (pp. 140–160). Rutgers University Press.
https://doi.org/10.36019/9780813564555-008 - Caves, R. E. (2000). Creative industries: Contracts between art and commerce. Harvard University Press.
https://doi.org/10.1257/089533003765888430 - Dempster, A. M. (2006). Managing uncertainty in creative industries: Lessons from Jerry Springer the Opera. Creativity and Innovation Management, 15(3), 224–233.
https://doi.org/10.1111/j.1467-8691.2006.00391.x - Draper, J. (2014). Theorizing creative agency through ‘discerned savvy’: A tool for the critical study of media industries. Media, Culture & Society, 36(8), 1118–1133.
https://doi.org/10.1177/0163443714545000 - Faulkner, R. R., & Anderson, A. B. (1987). Short-term projects and emergent careers: Evidence from Hollywood. American Journal of Sociology, 92(4), 879–909.
https://doi.org/10.1086/228586 - Frandsen, K., & Bruun, H. (2017). Tid og timing: Et metodisk perspektiv på produktionsanalyse [Time and timing: A methodological perspective on production analysis. MedieKultur, 33(62), 119–133.
https://doi.org/10.7146/mediekultur.v33i62.25217 - Freudendal, J. (forthcoming). Between audience feedback and creative autonomy: Negotiating audience research in Danish film production. Journal to be confirmed.
- Freudendal, J. (2023). Listening to audiences to remain relevant: Audience research as a new production method for Scandinavian screen cultures in transition. Journal of Scandinavian Cinema, 13(3), 243–261.
https://doi.org/10.1386/jsca_00097_1 - Gans, H. J. (1979). Deciding what’s news. Pantheon.
- Gitlin, T. (1983). Inside prime time. Pantheon.
https://doi.org/10.4324/9780203977293 - Goldman, W. (1983). Adventures in the screen trade: A personal view of Hollywood. Grand Central Publishing.
- Harkamp T. (Director). (2022). Smuk [Pretty young thing]. SF Studios; The Danish Film Institute; Nordic Film and Television Fund; Danish Broadcasting Corporation.
- Havens, T. (2014). Media programming in an era of Big Data. Media Industries, 1(2), 5–9.
https://doi.org/10.3998/mij.15031809.0001.202 - Havens, T., & Lotz A. D. (2017). Understanding media industries. Oxford University Press.
- Hedegaard, M. (Director). (2025). Fremmed: Det første opgør [Stranger]. Motor; Mer Film; Proton Cinema.
- Herbert, D., Lotz, A., & Punathambekar, A. (2020). Media industry studies. John Wiley & Sons.
- Hertz, R., & Imber, J. B. (1995). Studying elites using qualitative methods. Sage.
- Hesmondhalgh, D., & Baker S. (2011). Creative labour: Media work in three cultural industries. Routledge.
https://doi.org/10.4324/9780203855881 - Hesmondhalgh, D. (2018). The cultural industries (4th ed.). Sage.
- Idiz, D. R. (2024). Local production for global streamers: How Netflix shapes European production cultures. International Journal of Communication, 18, 2129–2148.
https://ijoc.org/index.php/ijoc/article/view/21881 - Jankovich, M. (Director). (forthcoming). Hjem [Home]. Nordisk Film Production; Danish Film Institute; FilmFyn; TV2 Denmark; Nordisk Film Distribution.
- Kalle, K. (Director). (forthcoming). No Rest for the Wicked. SF Studios; Outlier Projects; Truenorth Productions; Danish Film Institute; Faroese Film Institute; Nordic Film and Television Fund.
- Lotz, A. D. (2022). Netflix and streaming video: The business of subscriber-funded video on demand. Polity.
- Macdonald, I. (2010). “... So it’s not surprising I’m neurotic”: The screenwriter and the Screen Idea Work Group. Journal of Screenwriting, 1(1), 45–58.
https://doi.org/10.1386/josc.1.1.45/1 - Napoli, P. M. (2008). The rationalization of audience understanding. McGannon Center Working Paper Series 25.
https://research.library.fordham.edu/mcgannon_working_papers/25 - Nash, M. (2013). Uknown spaces and uncertainty in film development. Journal of Screenwriting, 4(2), 149–162.
https://doi.org/10.1386/josc.4.2.149_1 - Navar-Gill, A. (2020). The golden ratio of algorithms to artists? Streaming services and the platformization of creativity in American television production. Social Media + Society, 6(3), 1–11.
https://doi.org/10.1177/2056305120940701 - Noer, M. (Director). (2024). Birthday Girl. Nordisk Film Production; Danish Film Institute; Norwegian Film Institute; Nordic Film and Television Fund.
- Ohmer, S. (2006). George Gallup in Hollywood. Columbia University Press.
https://doi.org/10.7312/ohme12132 - Pokorny, M., Miskell, P., & Sedgwick, J. (2018). Managing uncertainty in creative industries: Film sequels and Hollywood’s profitability, 1988–2015. Competition and Change, 23(1), 23–46.
https://doi.org/10.1177/1024529418797302 - Rasmussen, N. V. (2024). Friction in the Netflix machine: How screen workers interact with streaming data. New Media & Society. OnlineFirst.
https://doi.org/10.1177/14614448241250029 - Redvall, E. N. (2009). Scriptwriting as a creative, collaborative learning process of problem finding and problem solving. MedieKultur, 25(46), 34–55.
https://doi.org/10.7146/mediekultur.v25i46.1342 - Redvall, E. N. (2023). Failure studies. In S. Udelhofen, D. Göttel, & A. Riffi (Eds.), Produktionskulturen audiovisueller Medien: Neuere Perspektiven der Medienindustrie- und Produktionsforschung [Production cultures of audiovisual media: New perspectives in media industry and production research] (pp. 67–84). Springer.
https://doi.org/10.1007/978-3-658-38412-8_5 - Redvall, E. N., & Sørensen, I. E. (2021). Structured industry workshops as methodology: Researching national screen agencies and policies. Media Industries, 8(1), 47–66.
https://doi.org/10.3998/mij.94 - Reich, Z., & Barnoy, A. (2016). Reconstructing production practices through interviewing. In T. Witschge, C. W. Anderson, D. Domingo, & A. Hermida (Eds.), The Sage handbook of digital journalism (pp. 477–493). Sage.
https://doi.org/10.4135/9781473957909.n32 - Risvig, J. (Director) (2024). Kontra [Counter]. Nimbus Film; The Danish Film Institute; FilmFyn.
- Søltoft, J. I., & Munk, A. K. (2025). Recalcitrant audiencing: Between analytics and creative practice in the film industry. Convergence. OnlineFirst.
https://doi.org/10.1177/13548565251340869 - Toynbee, J. (2006). The media’s view of the audience. In D. Hesmondhalgh (Ed.), Media production (pp. 91–132). Open University Press.
- Vinterberg T. (Director). (2012). Jagten [The hunt]. Zentropa; Film i Väst; Zentropa International Sweden; Danish Film Institute; Danish Broadcasting Corporation; Eurimages; Nordic Film and Television Fund; Swedish Film Institute; Sveriges Television; Media Programme of the European Union.
- Yin, R. K. (2003). Case study research: Design and methods (3rd ed.). Sage.
