The Bridge Flashcards

1
Q

when did The Bridge begin?

A
  • started in 2011
  • set episode in 2015 (S3E1)
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2
Q

cultural contexts

A
  • openness to international television and subtitled texts
  • recreations of the series in other cultures (eg. ‘The Tunnel’ in France)
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3
Q

historical contexts

A
  • oresund bridge unites denmark and sweden
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4
Q

economic contexts

A
  • established TV show - secure funding from international companies
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5
Q

political contexts

A
  • scandinavian politics tends to be more leftward leaning and progressive - reflected in the bridge’s modern ideologies
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6
Q

social contexts

A
  • modern audiences tend to be more more accepting of progressive LGBT and gender representations
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7
Q

what genre of TV and what are the conventions of this genre?

A

crime drama
- linear narrative
- male dominated
- sexualised females

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8
Q

what type of TV style is utilised and what are the conventions of this style?

A

nordic noir
- monochrome
- mysterious
- eery music
- chiaroscuro lighting
- flexi narrative storyline
- realism settings - verisimilitude for the domestic audience

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9
Q

how does the bridge conform/subvert the genre conventions of crime dramas? [GENRE THEORY - NEALE]

A

conform:
- similar structure - crime -> investigation -> solved
- looking for clues
- perpetrator has a motive

subvert:
- strong female lead
- introduction of a range of characters - following their individual stories

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10
Q

binary oppositions in the bridge? [STRUCTURALISM - LEVI-STRAUSS]

A
  • culture: sweden vs denmark
  • characters: saga vs hanne
  • family: nuclear vs non-nuclear family
  • neurodivergent vs atypical
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11
Q

how was the bridge season 3 funded?

A
  • the copenhagen film fund - more danish crew members than on last series
  • creative europe MEDIA (1 million euros) - helped maintain high production costs and quality
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12
Q

who produced the bridge season 3?

A

co-production between (swedish) film lance international and (denmark) nimbus film

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13
Q

how was the bridge season 3 marketed?

A
  • online interviews
  • advertisements on the bbc showing clips from the show
  • saga’s actress sofia helin featured on a front cover of radio times - trying to appeal to an older audience that buys this magazine
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14
Q

what platforms distributed the bridge season 3?

A
  • bbc iplayer - must conform to remit (educate, inform, entertain) and royal charter, aiming to expose audience members to a range of different cultures
  • 9 years later, audiences must purchase the bridge season 3 on amazon prime - paywall as a result of digital convergence
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15
Q

how was the bridge season 3 regulated?

A
  • ofcom - regulates uk broadcast
  • nature of crime genre - gruesome, talk of violence, sex
  • broadcasted after watershed
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16
Q

why was star factor an interesting factor in the bridge season 3?

A
  • the actors are not well known to an international uk audience - but this hasn’t impacted it’s popularity
  • nationally known cast in sweden and denmark may result in synthetic personalisation for domestic audiences
17
Q

how did the bridge season 3 conform to bbc 2 remit and royal charter?

A

remit:
- informs and educates uk audiences about real swedish settings (episode 1 set in malmo)
- entertaining - supplies audience with element of escapism

charter:
- exposes uk audiences to different cultures
- danish or swedish people in the uk can recognise own culture on uk broadcast

18
Q

why might uk audience consume the bridge season 3? [USES AND GRATZ - BLUMLER AND KATZ]

A
  • entertainment: nature of crime dramas are to entertain audiences with a suspenseful narrative
  • social integration: people can discuss the show and make predications/speculate
  • escapism: nordic noir represents reality through a creative lense - unlike reality especially for international audiences
  • personal identity: danish / swedish, gender, autism - can identify with TV show, unlike other shows that would represent characters stereotypically
  • education: educates international audience about different cultures
19
Q

how would fans act towards the bridge season 3? [FANDOM THOERY - JENKINS]

20
Q

what would gauntlett suggest about the bridge season 3? [IDENTITY THEORY - GAUNTLETT]

A
  • audiences can identify with the range of demographics portrayed in the series
21
Q

what ideologies/messages is the bridge season 3 trying to cultivate? [CULTIVATION THEORY - GERBNER]

A
  • cultivate progressive views and challenge traditional, stereotypical roles
22
Q

how is saga being neurodivergent shown in the bridge season 3 - how she acts?

A
  • masking - perhaps trying to act more masculine to be respected in the workplace or generally due to insecurity around her social behaviour
  • unaware of some social cues
23
Q

how does the nature of crime subvert or conform to patriarchy?

A

subvert
- saga is clearly a dominant force in her job - ordering her male coworkers to do this that contribute to the case she is working on
- saga is not actively sexualised - she changes shirt int he middle of the office, but the regular shot does not romanticise this scene
- hanne confidence in her approach to the job - walking with sureness
conform
- male dominated workplace (eg. hans is saga’s superior despite her devotion to her job)
- could be argued the decision to film her changing shirt aims to reaffirm her sexuality - despite her masculine traits she is still a woman with a female body capable of being sexualised
- henrik going to the art show and sleeping with another woman that isn’t his wife - his wife being submissive to his desires?

24
Q

why could it be suggested that henrik and saga ‘swap’ traditional gender roles?

A
  • saga does not have a family and children vs henrik has a wife and children
  • saga spends most of her time at work vs henrik completes domestic chores whilst his wife is working
25
Q

how does hans subvert or conform to gender stereotypes?

A

conform
- superior role in workplace despite his lack of drive and turning up to work late
subvert
- empathetic man who displays his feelings

26
Q

how does hanne subvert or conform to gender stereotypes?

A

conform
- shows emotive character trait when comforting helle anker’s wife when saga tried to immediately question her
subvert
- strong solitary figure
- almost competes with saga when working with her - challenging saga because she turned martin in

27
Q

how is swedish culture represented and how does this juxtapose the representation of danish culture?

A

swedish culture
- politically correct
danish culture
- more direct and less pc - hanne calls saga ‘a bit swedish’