Vilde Schanke Sundet

• Andersen, Mads Møller & Sundet, Vilde Schanke (2019). Producing Online Youth Fiction in a Nordic Public Service Context. View : Journal of European Television History and Culture.  ISSN 2213-0969.  8(16), s 110- 125 . doi: http://doi.org/10.18146/2213-0969.2019.jethc179 Vis sammendrag

  This article investigates the conditions for making online youth fiction in a public service context at a time when young people increasingly are abandoning both legacy mass media and linear flow television to consume and share content online. The article’s starting point is the production of online youth fiction in two Nordic public service institutions, the Norwegian NRK and the Danish DR, and it discusses how digitisation and new competitors present both challenges and opportunities for institutions such as these. Furthermore, the article discusses the organisation of online youth fiction in both institutions and investigates how organisational strategies and production cultures come into play in each of these broadcasters’ early signature youth series: the widely popular online teen drama SKAM (NRK, 2015-2017) and the far less known youth series Anton 90 (DR, 2015). Our findings show that it was the pressure imposed by digitisation and new competitors that led these institutions to take new risks with their youth fiction production, changing their production patterns to make short-form drama series tailored to online streaming, and ultimately treating online youth fiction as a distinctly different task than “regular” fiction.

• Petersen, Line Nybro & Sundet, Vilde Schanke (2019). Play moods across the life course in SKAM fandom. Journal of Fandom Studies (JFS).  ISSN 2046-6692.  7(2), s 113- 131 . doi: https://doi.org/10.1386/jfs.7.2.113_1 Vis sammendrag

  This article considers fans’ playful digital practices and focuses on the play moods that are co-constructed in online fan communities. We analyse how these play moods are negotiated across the life course for participating fans. Play moods are closely tied to the playful modes of fan practices, and by gaining a greater understanding of the moods that fans engage in at different stages of their life course we gain new insights into fan play as it relates to issues of age-related norms in fan communities. Specifically, this article analyses the Norwegian teenage streaming drama SKAM (Shame) (NRK, 2015–17), which was produced for a target audience of 16-year-old Norwegian girls but ended up capturing the hearts of people of all ages across Scandinavia and internationally. This study is based on interviews with 43 Scandinavian fans aged between 13 and 70. The participants were all active on social media (Facebook, Instagram, the show’s blog, etc.) while the show was on the air and the interviews offers insights into issues of age-appropriateness as it relates to fan practices. As such, fans ‘police’ both themselves and each other based on perceptions of age, while also engaging in practices that are by nature playful and may be considered subjectively and culturally ‘youthful’ or ‘childish’. The article combines theory of play and fan studies with a focus on the life course and cultural gerontology in order to highlight these tendencies in the SKAM fandom.

• Steen-Johnsen, Kari; Sundet, Vilde Schanke & Enjolras, Bernard (2019). Theorizing Policy-Industry Processes : A Media Policy Field Approach. European Journal of Communication.  ISSN 0267-3231. . doi: 10.1177/0267323119830047 Fulltekst i vitenarkiv. Vis sammendrag

  This article develops a theoretical perspective to study the conditions for media policy formation under the condition of digitalization – the Media Policy Field approach – building on an organizational field approach in combination with theories of policy development. The theory of strategic action fields offers a meso-level view of how actors in media fields interact and how their respective opportunities for influencing policy are structured by the state of the field and their respective positions. This theory is linked with the Multiple Streams Approach, which maintains that change occurs when policy entrepreneurs connect problem, policy and politics streams, and create policy windows. The Media Policy Field approach proposes three analytical foci for the study of current media policy processes: collective frames, incumbent and challenger roles and policy windows. Empirical strategies for pursuing this theoretical programme are discussed.

• Sundet, Vilde Schanke (2019). From ‘secret’ online teen drama to international cult phenomenon: The global expansion of SKAM and its public service mission. Critical Studies in Television.  ISSN 1749-6020. . doi: 10.1177/1749602019879856 Vis sammendrag

  This article addresses the production, distribution and global expansion of the online teen drama, SKAM/SHAME (2015–2017), produced by the Norwegian public service broadcaster NRK. The article combines perspectives on transmedia storytelling with production studies and studies of public service broadcasting to investigate the distinct production, publishing and promotion models underpinning SKAM, as well as its public service mission. Furthermore, it addresses SKAM’s transition from a ‘secret’ online teen drama targeting young Norwegians in season one to a global cult phenomenon with viewers and fans in all age groups and on all continents in seasons three and four and relates this expansion to recent shifts within the television industry.

• Sundet, Vilde Schanke; Ihlebæk, Karoline Andrea & Steen-Johnsen, Kari (2019). Policy windows and converging frames: a longitudinal study of digitalization and media policy change. Media Culture and Society.  ISSN 0163-4437.  s 1- 16 . doi: 10.1177/0163443719867287 Fulltekst i vitenarkiv. Vis sammendrag

  This study analyzes how media industry players have influenced media political solutions to digitalization, using data from the daily press and policy documents in the period from 1998 to 2017 as sources. It concentrates on two specific areas of media policy: public service broadcasting (PSB) and press subsidies. Based on a media policy field approach, this study identifies key collective frames and the players that promote them, and shows how policy windows are created. The study finds that there is strong continuity in terms of the basic frames used to discuss media policy and in the actors involved in creating collective frames, which means that the incumbents maintain their positions. Converging frames that include several industry problems are activated to an increasing degree to initiate and influence media policy actions.

• Bakøy, Eva & Sundet, Vilde Schanke (2017). 'Remember, it's just television': Rubicon TV and the commercialisation of Norwegian television. View : Journal of European Television History and Culture.  ISSN 2213-0969.  6(11), s 53- 69 Vis sammendrag

  This article investigates the historical development of one of the most successful television production companies in Norway, Rubicon TV, focusing on its changing leaders, their mission statements and programme portfolios. Based on primary historical documents, the article shows how the various CEOs of the company have consistently argued that television is not a ‘window to the world’, but a harmless medium for light, engaging entertainment. This understanding was originally a reaction to the perceived elitism and paternalism of public service television, allowing the company leaders moral leeway to produce provocative and innovative programmes that came to change the Norwegian television landscape.

• Sundet, Vilde Schanke (2017). Co-Produced Television Drama and the Cost of Transnational ‘Success’: The Making of Lilyhammer, In Eva Bakøy; Roeland Puijk & Andrew Spicer (ed.),  Building Successful and Sustainable Film and Television Businesses : A Cross-National Perspective.  Intellect Ltd..  ISBN 9781783208203.  4.  s 67 - 88
• Sundet, Vilde Schanke (2017). «Det er bare du som kan føle det du føler» – emosjonell investering og engasjement i nettdramaet SKAM. 16:9.  ISSN 1603-5194. Vis sammendrag

  I SKAM-klippet «Tenker det du føler» sier Isak til Even at det er bare han som kan føle det han føler, før Even hvisker tilbake at slik som dette har han aldri følt før. Men tar han ikke feil? For er det ikke slik at også mange SKAM-seere har følt med Isak gjennom sesong 3? Kommentarfeltet som følger dette og andre SKAM-klipp vitner om mange seere med sterk emosjonell investering til seriens univers og karakterer. Men hva er det som gjør SKAM til en dramaserie så mange føler så sterkt rundt?

• Sundet, Vilde Schanke (2016). Den private tv-industrien i Norge. En medieøkologisk produksjonsanalyse, I: Eva Bakøy; Tore Ulrik Helseth & Roeland Puijk (red.),  Bak kamera : Norsk film og TV i et produksjonsperspektiv.  Oplandske Bokforlag.  ISBN 9788275182478.  1.  s 29 - 46
• Sundet, Vilde Schanke (2016). Still ‘Desperately seeking the audience’? Audience making in the age of media convergence (the Lilyhammer experience). Northern Lights: Film & Media Studies Yearbook.  ISSN 1601-829X.  14(1), s 11- 27 . doi: 10.1386/nl.14.11-1 Vis sammendrag

  The present article addresses ‘audience making’ in the age of media convergence, when television drama is increasingly produced for both a national and an international audience to be consumed in either linear 'flow’ or on-demand user modes. It asks about the ways in which key industry executives producing and commissioning television drama envision its audience, as well as the degree to which new production and distribution models impact industry notions of ‘the audience’. In order to address these questions, the article analyses the production and distribution of Lilyhammer, a successful television drama produced by the production company Rubicon TV for the Norwegian public service broadcaster NRK, in collaboration with the American streaming service Netflix. The article argues that how the television industry wants to see its audience influences how it actually sees it, which, again, impacts both the production of television drama as well as the industry’s evaluation of ‘success’ for this genre.

• Sundet, Vilde Schanke (2016). VGTV-serien Oljebarna: Produksjon og publisering av TV for nett, I: Eva Bakøy; Tore Ulrik Helseth & Roeland Puijk (red.),  Bak kamera : Norsk film og TV i et produksjonsperspektiv.  Oplandske Bokforlag.  ISBN 9788275182478.  7.  s 121 - 142
• Mjøs, Ole Johan; Moe, Hallvard & Sundet, Vilde Schanke (2014). The functions of buzzwords: A comparison of 'Web 2.0' and 'telematics'. First Monday.  ISSN 1396-0466.  19(12:01.12.2014) . doi: 10.5210/fm.v19i12.4896 Vis sammendrag

  It is a key task for media research to uncover the assumptions underpinning fashion terms like buzzwords, and to show their functions in business, political debate and social life. In this article, we ask which purposes media buzzwords serve, and for whom. We also question the presumed newness of buzzwords. By critically addressing two corresponding terms — ‘Web 2.0’ and ‘telematics’ — we argue that a media buzzword serves three important functions: it simplifies a complex field, promotes a phenomenon as something new, and legitimates strategies and actions. Thus, a media buzzword can be used rhetorically to define a discursive frame for new media developments. Further, we argue, even though media buzzwords bring forward a promise of something new, the use of such buzzwords is not new.

• Enli, Gunn; Moe, Hallvard; Sundet, Vilde Schanke & Syvertsen, Trine (2013). From fear of television to fear for television: five political debates about new technologies. Media History.  ISSN 1368-8804.  19(2), s 213- 227 . doi: 10.1080/13688804.2013.791420
• Krumsvik, Arne Håskjold & Sundet, Vilde Schanke (2011). Etablerte medier og deres forutsetninger for fortjeneste : en komparativ analyse av konkurranseforholdene i norsk avis-, radio-, og fjernsynsbransje. Norsk Medietidsskrift.  ISSN 0804-8452.  18(3), s 188- 216

Se alle arbeider i Cristin

• Enli, Gunn; Moe, Hallvard; Sundet, Vilde Schanke & Syvertsen, Trine (2010). TV - en innføring. Universitetsforlaget.  ISBN 978-82-15-01629-0.  286 s.

Se alle arbeider i Cristin

• Sundet, Vilde Schanke & Leinan, Runa (2020, 29. januar). Strømmetjenesten Disney+ til Norge. [TV].  NRK Dagsrevyen.
• Ihlebæk, Karoline Andrea; Sundet, Vilde Schanke & Steen-Johnsen, Kari (2019). Digitalization and diversity: A case study of policy incentives in the news sector.
• Lüders, Marika; Colbjørnsen, Terje & Sundet, Vilde Schanke (2019). The streaming super user: Profiling heavy streaming users and their motivations across media industries.
• Slettemark, Asbjørn; Erdal, Marta Bivand; Sundet, Vilde Schanke & Joof, Channeh Maram (2019). Beforeigners - Hva om det virkelig skjedde?. Vis sammendrag

  I HBO-serien Beforeigners, kommer det en slags innvandrere til Oslo. Men de er fremvandrere: ikke fra et annet land, men fra en annen tid. Når disse menneskene fra fortiden plutselig dukker opp, endres Oslo. Hvordan gjenspeiler serien frykten eller håpet rundt migrasjon og integrering i dagens Oslo? Er det noe vi kan lære av fiktiv integrering av «flertemporale» fremvandrere? Og hva om dette virkelig skjedde? Hvordan hadde vi håndtert det? Oslo Peace Days har samlet eksperter fra Universitetet i Oslo, Oslo kommune og PRIO for å prate om Beforeigners, Oslo, det norske samfunnet, fremvandring, migrasjon og integrering.

• Sundet, Vilde Schanke (2019). Beforeigners - suksessfaktorer for norske serier på internasjonale strømmeplattformer.
• Sundet, Vilde Schanke (2019). Bokanmeldelse av Synnøve Skarsbø Lindtner og Dag Skarstein (red.): Dramaserien Skam. Analytiske perspektiver og didaktiske muligheter. Norsk Medietidsskrift.  ISSN 0804-8452.  26(1), s 1- 4
• Sundet, Vilde Schanke (2019). Fankultur i den digitale tidsalder.
• Sundet, Vilde Schanke (2019). The Second Wave: The Development of Real-Time Online Drama. Vis sammendrag

  Online drama and real-time publishing have become an established ‘format’, especially in the Nordic countries. The ‘first wave’ was headed by the Norwegian hit show SKAM (NRK, 2015-2017), but the ‘second wave’ includes both several SKAM remakes as well as new successors in all the Nordic countries as well as beyond. In short, playing with time and platforms has become on key strategy for many storytellers trying to reintroduce a sense of liveness and realness. What can we learn from the ‘two waves’ of real-time storytelling? What are the pros and cons of this way of producing and publishing online drama? And, is it possible to renew this format when the rules in the TV market is constantly changing?

• Sundet, Vilde Schanke (2019). 'Youtification' of drama through real-time storytelling. Vis sammendrag

  For broadcasters aiming to re-connect with a younger audience, online drama published in real-time has become an attractive new ‘format’. The ‘first wave’of this format became internationally known through the hit show SKAM (NRK, 2015-2017), but the ‘second wave’includes both several SKAM remakes as well as new successors. What can we learn from the ‘two waves’of real-time storytelling? What are the prosand cons of this way of producing and publishing online drama? And, is it still possible to renew the format when the rules in the TV market is constantly changing? In this talk, I address how recent trends within the television industry change the production and publishing of youth television, and the particular role so-called real-time drama play in this context. More precisely, I discuss how real-time drama bring forwards many new opportunities for television players—allowing them to test new storytelling models and industry-audience relations—but also give rise to new challenges and dilemmas—including hard-to-handle third-party-partnerships and unintended fan activity. The presentation is based on my recent study of digital flagship productions within the Norwegian public service broadcaster NRK, which incorporates 50 interviews with key executives, including many people working at SKAM and its main successor (blank, NRK, 2018-).

• Sundet, Vilde Schanke; Ihlebæk, Karoline Andrea & Steen-Johnsen, Kari (2019). 20 år med digital mediekrise. Dagens næringsliv.  ISSN 0803-9372.
• Sundet, Vilde Schanke; Ihlebæk, Karoline Andrea & Steen-Johnsen, Kari (2019). Policy windows and converging frames: How media industry players frame digitalization and the need for policy actions.
• Sundet, Vilde Schanke & Lüders, Marika (2019, 11. september). Fremtidens strømmelandskap i Norge. [Radio].  NRK P2. Vis sammendrag

  To gigantselskap kaster seg inn i kampen om våre TV-vaner denne høsten - både Apple og Disney lanserer egne strømmetjenester. Hvordan vil det se ut?

• Sundet, Vilde Schanke & Petersen, Line Nybro (2019). Ins and outs of transmedia fandom: Motives for entering and exiting the SKAM fan community.
• Sundet, Vilde Schanke & Strøm, Tarjei (2019, 27. april). Lørdagsunderholdning. [Radio].  NRK P1 "Lørdagsliv".
• Sundet, Vilde Schanke & Svendsen, Maiken (2019, 26. august). «Beforeigners» har satt ny strømmerekord for HBO i Norge. [Internett].  NRK.no.
• Sundet, Vilde Schanke & Svendsen, Maiken (2019, 27. august). Derfor lykkes Beforeigners. [Radio].  NRK P1 "Østlandssendingen".
• Ringen, Lars Erik Ertzgaard & Sundet, Vilde Schanke (2018, 07. april). Tospråklige tv-produksjoner. [Radio].  NRK Radio Kurer.
• Sundet, Vilde Schanke (2018). "Den andre bølgen. Nettdramas utvikling".
• Sundet, Vilde Schanke (2018). Exporting Nordic Values - Online Teen Drama and Fan Culture.
• Sundet, Vilde Schanke (2018). Mediemangfold: Oppsumering og avslutning.
• Sundet, Vilde Schanke (red.) (2018). Produksjonsforskning.
• Sundet, Vilde Schanke (2018). 'The Second Wave': The Development of Real-Time Online Drama.
• Sundet, Vilde Schanke & Lande, Ellen (2018, 01. oktober). – Vi må utfordre suksesskriteriene. [Internett].  Rushprint.
• Sundet, Vilde Schanke & Steen-Johnsen, Kari (2018). “We have a Chrisis. Again!” How Norwegian Media Industry Players Talk about Media Change and the Need for Media Policy Actions.
• Bendiksen, Kristian; Grønbech, Turi & Sundet, Vilde Schanke (2017, 06. juni). Indisk tv-serie for kvinner. [Radio].  NRK Radio - Studio 2.
• Steen-Johnsen, Kari & Sundet, Vilde Schanke (2017). "Digitalization, globalization and the condition for national media policies - a field perspective". Vis sammendrag

  This paper aims to develop a theoretical perspective fit to study the conditions for media policy formation in times of change, using an organizational field approach in combination with theories of policy development. The theory of Strategic Action Fields (SAF) offers a meso-level view of how organizations and actors in media fields interact, and how their respective opportunities for influencing policy are structured by the state of the field and their respective positions. This view of the organizational interaction is linked to the Multiple Streams Approach (MSA) to policy making, that maintains that change occurs when policy entrepreneurs are able to couple problem, policy and politics streams. Both approaches stress how certain cognitive models or frames, are crucial to social and political change and to the influence of different actors. The authors argue that this combined theoretical framework fills an analytical gap in the media policy literature by providing a systematic and holistic view of policy change through organizational interaction, with an explicit theory of power and strategic action.

• Sundet, Vilde Schanke (2017). Behovsdrevet tenåringsdrama. Dansknoter.  (3), s 11- 13
• Sundet, Vilde Schanke (2017). Debattdeltaker om kulturforskningens rolle i regjeringens langtidsplan for forsking og utvikling.
• Sundet, Vilde Schanke (2017). Fortellinger, fans og fellesskap: Fersk «Skam»-forskning.
• Sundet, Vilde Schanke (2017). Fra norsk «tenåringshemmelighet» til internasjonalt kultfenomen:Hva kan vi lære av SKAM?. Vis sammendrag

  Alle de nordiske landene er i samme situasjon på filmfeltet – det letes etter nye forretningsmodeller som både kan sikre publikum et mangfoldig nordisk film- og serieinnhold av høy kvalitet, og som kan sørge for at midler går tilbake til nye produksjoner. De nordiske landene er hver for seg små markeder, og det er vanskelig å bygge forretningsmodeller som er regningssvarende for kun nasjonalt innhold. Hvordan kan vi løse slike utfordringer? Hva kan vi lære av hverandre i Norden? På hvilke områder kan det være fruktbart med et nordisk samarbeid? Hva gjør andre land i Europa for å løse utfordringene med tilgjengeliggjøring og medfinansiering?

• Sundet, Vilde Schanke (2017). From 'secret' online teen drama to international cult phenomenon: The global expansion of SKAM and its public service mission.
• Sundet, Vilde Schanke (2017). Plattformer og deres målgrupper: SKAM i sosiale medier.
• Sundet, Vilde Schanke (2017). SKAM + Norden = Sant.
• Sundet, Vilde Schanke (2017). SKAM - bakgrunn, fortellergrep og internasjonal suksess.
• Sundet, Vilde Schanke (2017). SKAM - flermedialitet, sanntid og eventifisering.
• Sundet, Vilde Schanke (2017). SKAM i sosiale medier: Spennfeltet mellom seer og serie.
• Sundet, Vilde Schanke (2017). SKAM: Fra hemmelig nettdrama til internasjonalt kultfenomen. Vis sammendrag

  I løpet av tre sesonger har SKAM gått fra å være en ”hemmelig” nettdrama-serie spesifikt rettet mot norske 16-åringer til å bli et internasjonalt fenomen med seere i alle aldersgrupper og på alle kontinenter. Hvordan skjedde det? Ved å kombinere perspektiver fra produksjonsstudier og fanstudier, diskuteres sentrale produksjons-, publiserings- og promoteringsstrategier i SKAM og hvordan disse ikke bare skaper lojalitet og engasjement i målgruppa men også får betydning i videre utstrekning. Avslutningsvis kontekstualiseres SKAM som populær folkeopplysning.

• Sundet, Vilde Schanke (2017). SKAM: Når seere blir fans. Hva var det som gjorde at engasjementet tok av blant SKAM-seere?.
• Sundet, Vilde Schanke (2017). Transnational circulation and unexpected success stories.
• Sundet, Vilde Schanke; Bendiksen, Kristian & Haug, Otto (2017, 26. juni). Hva har SKAM vært for ungdomskulturen?. [Radio].  NRK P2 Studio 2.
• Sundet, Vilde Schanke & Fraser, Sofie Amalie Hoff (2017, 25. april). SKAM svekker fordommer. [Internett].  Journalen.
• Sundet, Vilde Schanke & Grindem, Karianne (2017, 04. januar). Folket vil betale for NRK.  Dagbladet.
• Sundet, Vilde Schanke & Kristoffer Østegaard, Kristensen (2017, 19. mars). Dansk drama skal kigge sig over skulderen.  Jyllands-Posten.
• Sundet, Vilde Schanke & McDermott, Patrick D. (2017, 10. april). Why The Whole Planet Is Obsessed With This Norwegian Teen Drama. [Internett].  The Fader. Vis sammendrag

  Skam is the world’s realest show about high school, and also its most important.

• Bakøy, Eva & Sundet, Vilde Schanke (2016). International ownership and transnational success: The history of Rubicon.
• Sundet, Vilde Schanke (2016). Hvordan skal NRK finansieres? Og hva med TV 2?. Vox publica.  ISSN 1504-5927.
• Sundet, Vilde Schanke (2016, 03. november). Medieforskere: Norske tv-kanaler må satse mer på lokalt innhold. [Internett].  Rushprint.
• Sundet, Vilde Schanke (2016, 25. oktober). Milliardkjøp kan få norsk smitteeffekt.  Dagens Næringsliv. Vis sammendrag

  Tv-seerne setter forretningsmodellen til både teleselskaper og tv-kanaler under press. Når AT & T sluker Time Warner for 85 milliarder dollar, skaper det bølger også i Norge. Sundet ble også intervjuet i radioprogrammet Kurer på NRK 15. oktober.

• Sundet, Vilde Schanke (2016). The Costs of Transnational Success: How Netflix went from Companion to Competitor during the Production of Lilyhammer.
• Sundet, Vilde Schanke & Falch-Nielsen, Kirsti (2016, 09. desember). Tviler på blåkopi av Skam. [Internett].  NRK.
• Sundet, Vilde Schanke & Gravklev, Bente Rognan (2016, 21. januar). TV 2 til signalbygg i Bjørvika.  Dagsavisen.
• Sundet, Vilde Schanke & Lars, Barth-Heyerdahl (2016, 03. februar). Derfor lar ikke TVNorge deg se kanalene gratis på nett. [Internett].  Tv2.no.
• Sundet, Vilde Schanke & Lindblad, Knut-Eirik (2016, 01. oktober). Ekspert om TV 2s hårete mål: - Som å utkonkurrere Google.  Dagbladet.
• Sundet, Vilde Schanke; Lucia, Odoom & Lynge Stegger, Gemzøe (2016). SKAM - Vi driter i hvem du har hooka med!. Vis sammendrag

  Har du endnu ikke set den norske tv-serie SKAM? Så er du en af de få. Nu får du muligheden for at komme lidt på forkant. Serien, der følger fem piger på et gymnasie i Oslo, bliver set af folk i alle aldre og roserne vælter ind fra kritikere. Nogle mener endda, at serien skal på skolepensum – ikke mindst på grund af den intelligente brug af sociale medier og tackling af tabuer. Men hvad er det, der gør de unge norske jenter værd at følge? Og er der noget specielt nordisk ved SKAM? Kom med på beatet, når podcastvært og kritiker ved Politiken Lucia Odoom viser klip fra serien og taler om baggrunden for seriens succes med Vilde Schanke Sundet, postdoktor i film- og fjernsynsvitenskap ved Lillehammer University College, samt Lynge Stegger Gemzøe, Ph.d.-studerende ved Medievidenskab, Aarhus Universitet.

• Sundet, Vilde Schanke & Mauno, Hanne (2016, 17. desember). Sikrer allmennkringkasteren.  Dagsavisen.
• Sundet, Vilde Schanke & Ringen, Lars Erik Ertzgaard (2016, 15. oktober). Krisefremtiden i media. [Radio].  NRK P2. Vis sammendrag

  Flere hundre journalister har blitt arbeidsløse de to siste tiårene i Norge. Samtidig vokser antallet ansatte i bedrifter som produserer såkalt Content Marketing, eller innholdsbasert markedsføring, nesten like mye. Hvordan former denne prosessen fremtidens mediebilde?

• Sundet, Vilde Schanke & Syvertsen, Trine (2016). Broadcasting, the Welfare State and Media Ecosystems: Changes and Challenges for Public Service Broadcasting. Vis sammendrag

  One of the most salient issues in todays’ media landscape regards public service broadcasting. In many Western countries, public service broadcasters have historically been seen as cornerstones of the public sphere, and, in the Nordic countries, also as key welfare state institutions. This paper uses the case of the British and Scandinavian public broadcasters—BBC, NRK, DR and SVT—to discuss the changing political context for public service broadcasting in the second decade of the 21st century. Focusing on the recent political reviews of public broadcasting in these four countries, the paper discusses to what degree there is evidence that traditional characteristics of the welfare state, such as universality, public private cooperation and a positive view of state intervention, continue to impact on the governance of public broadcasting, and what can explain national similarities and differences? Theoretically, the paper draws on perspectives that all emphasise the strong links between public service broadcasting and other aspect of culture and society: The “advocacy coalitions”-perspective (Bulck & Donders, 2014) emphasises that the legitimacy of public service broadcasting is dependent on value coalitions extending beyond the realm of media policy; the “media welfare state”-perspective (Syvertsen, Enli, Mjøs, & Moe, 2014) discusses public service broadcasting as a central welfare state institution; and the “media ecosystem”-perspective (Raats & Pauwels, 2013) discusses the impact of public service broadcasters on the surrounding media, including the role as standard-setter, innovator and facilitator for private media companies. Based on analyses of political documents and the public debate, the paper finds that the discussion about public service easily becomes a fulcrum for more overreaching debates about the future of media policy, the media ecosystem and the welfare state. A burning issue in all four national debates is how to secure good conditions for public media in the light of profound technological and economic change, while at the same time securing the livelihood of commercial media. The paper finds the issue of public-private cooperation to be increasingly important in all four countries. Yet, the comparison also identifies important differences. In Britain, the debate is more confrontational, and the government has a stronger agenda of innovation and of challenging the BBC. Although this puts the incumbent BBC at risk, it could arguably be seen as a policy in favour of developing stronger private institutions and innovation in the creative industry. In the Scandinavian countries, the same arguments, stakeholders and positions are present, but in these countries the positions gradually become less confrontational and more consensual in the course of the political consultation and negotiation over the future of public broadcasting. The Scandinavian discourse is more geared towards continuity and more positive to the tradition of public service broadcasting than the British discourse: Whereas the consensus in the Nordic countries promotes a higher degree of stability for public service, the controversies in the British debate may lead to more fundamental change.

• Sundet, Vilde Schanke & Vollan, Mari Brenna (2016, 03. november). Netflix vinner tv-kampen.  Klassekampen.
• Sundet, Vilde Schanke & Zeiner, Håvard (2016, 09. desember). Gårdsliv i beste sendetid.  Nationen.
• Karlsen, Stina & Sundet, Vilde Schanke (2015, 14. november). NRKs nye serie hylles av anmeldere og kjendis-Norge. Allerede før den har kommet på tv..  Dagbladet.
• Sundet, Vilde Schanke (2015). Building media engagement in the age of big data: Or, the challenges of serving an online and interactive television audience.
• Sundet, Vilde Schanke (2015). 'Front potential' as a new success criterion in web-TV: Production and publishing practices in VGTV.
• Sundet, Vilde Schanke (2015). Generasjonsportrettet «Oljebarna»: Casting, historiefortelling og "fronting" av tv på nett.
• Sundet, Vilde Schanke (2015). How to measure “success”? Media innovation, television consumption and the challenge of defining “the audience” is a digitalized and converged media. Vis sammendrag

  In her book from 1991 – Desperately Seeking the Audience – Ien Ang described a television industry constantly working on “conquering, measuring and serving” its audience in order to succeed. Her point was a persuasive one; the television industry needs to know its audience in order to succeed and uses much energy in counting and measuring the audience on an aggregated level. Yet, there exist a disparity between the “the audience” as defined by the industry to serve their needs and interests, and the “real audience” as understood as the individuals actually watching television and their needs and interests. Twenty-five years later, the television industry has changed profoundly and so has the relationship between the industry and its audience. Among others, new ways of distributing television, consuming it and mapping audience behaviour has changed the information available. Hence, although Ang’s basic point remains the same – the industry needs to know its audience in order to succeed – the strategies and practices for doing is changing. This paper address media innovation within audience mapping in a time when traditional measurements of television viewing seem contested. Through the perspective of “audience making”, it focus on how the television industry work to establish a new currency of audiences as well as how these new currency may influence the production and distribution models of television. Empirically, the paper is based on interviews with key industry executives working with television and web TV production, scheduling and audience measurement within the Norwegian media industry.

• Sundet, Vilde Schanke (2015, 19. juni). -Jeg er så kynisk at jeg tror TV 2 teller på knappene og regner på det.  Dagbladet.
• Sundet, Vilde Schanke (2015, 20. juni). Kritikerne om Widveys NRK-melding: De viktigste oppgavene skyver hun foran seg.  Dagbladet.
• Sundet, Vilde Schanke (2015). New production and distribution models in television drama: Or how a US mafia boss made “Lilyhammer” Netflix’s “first Original Series”.
• Sundet, Vilde Schanke (2015). New production and distribution models in television drama: Or how a US mafia boss made “Lilyhammer” the “first original Netflix series. Vis sammendrag

  Nordic television drama is recently boosting its attractiveness in both national and global markets, due to series like “The Killing” (2007-2012), “Borgen” (2010-2013) and “Lilyhammer” (2012-). These series gives promises of a “Nordic noir”, still, they are competing in a highly competitive and global industry currently undergoing transformations regarding both production, distribution and consumption. This paper address new production and distribution models in television drama, through the case of “Lilyhammer”. The series is based on a partnership between as small-country public service broadcaster (NRK) and an international, American-based streaming service (Netflix), which differs greatly in both audience reach (national vs. international), business model (licence fee vs. pay TV), and distribution practices (linear broadcasting vs. streaming). How did “Lilyhammer” come about, how was it exported to an international marked and which contradictions followed the partnership between NRK and Netflix? And, more theoretically, is – and if so, how is – new production and distribution models changing the making of television drama? Using analytical perspectives from industry studies and production studies, this paper aims to contribute to the growing field of television studies addressing drama production in the Nordic countries. The paper has a two-folded methodology: First, elite interviews with key executives and decision makers producing and distributing “Lilyhammer”, and secondly, an analysis of the debate and controversies following the television series, as covered in a selection of trade press and newspapers.

• Sundet, Vilde Schanke (2015). Still “Desperately seeking the audience”: Audience making in digitalized television production cultures.
• Sundet, Vilde Schanke (2015). Television From Small Nations: Internationalisation - challenges and opportunities for small nations.
• Sundet, Vilde Schanke (2015). Temanummer: Sosiale medier og politisk kommunikasjon. Norsk Medietidsskrift.  ISSN 0804-8452.  22(3), s 1- 2
• Sundet, Vilde Schanke (2015). Transnational production and distribution models in television drama: Or, how a US mafia boss put “Lilyhammer” on the map.
• Sundet, Vilde Schanke (2015, 05. januar). Trenger redaktørhjelp.  Dagens Næringsliv.
• Sundet, Vilde Schanke (2015, 22. juni). Varsler nye NRK-kutt.  Dagbladet.
• Sundet, Vilde Schanke & Suvatne, Steinar Solås (2015, 07. oktober). De borgelige sloss videre om NRK: Lover å fortsette lisenskrangelen.  Dagbladet.
• Suvatne, Steinar Solås & Sundet, Vilde Schanke (2015, 15. juni). Thorhild Widvey foreslår endringer: Spillet om NRK.  Dagbladet.
• NRK, Kulturredaksjonen & Sundet, Vilde Schanke (2014, 10. november). Diskusjon om VGs nye tv-kanal. [Radio].  NRK P2 "Kulturhuset".
• NRK, Kulturredaksjonen & Sundet, Vilde Schanke (2014, 20. oktober). Diskusjon om anmeldelser av tv-serier. [Radio].  NRK P2 "Kulturhuset".
• Sundet, Vilde Schanke (2014). Profesjonsutvikling i fjernsynsbransjen.
• Sundet, Vilde Schanke (2012). Making Sense of Mobile Media: Institutional Working Notions, Strategies and Actions in Convergent Media Markets.
• Ihlebæk, Karoline Andrea & Sundet, Vilde Schanke (2011). The professionalization of ordinariness. Managing a non-professional media career.
• Sundet, Vilde Schanke (2011). Lenge leve fjernsynet! Anmeldelse av Sigurd Allerns "Fjernsynsvalgkampen". Prosa - tidsskrift for skribenter.  ISSN 0805-276X.  (5), s 42- 43
• Sundet, Vilde Schanke (2011, 23. januar). Radiofront om papir. [Radio].  NRK P2 - Radiofront.
• Enli, Gunn; Moe, Hallvard; Sundet, Vilde Schanke & Syvertsen, Trine (2010). NRK gjør TV stuerent. Aftenposten (morgenutg. : trykt utg.).  ISSN 0804-3116.
• Ihlebæk, Karoline Andrea & Sundet, Vilde Schanke (2010). The Professionalism of 'Ordinariness': Managing a non-professional media career. Vis sammendrag

  The starting point of this paper is to examine ‘ordinariness’ in reality formats, as one specific program genre in which the ‘ordinary’ plays a pivotal role. However, being ‘ordinary’ is not sufficient, as participants are often asked to play an extraordinary role to meet the expectations of the program’s format. The paper highlights this dilemma through focusing on participants who appear repeatedly in reality genres, and who have made ‘being ordinary’ in the media as a career. Thus, the paper addresses the transformation from ‘being ordinary’ to ‘acting ordinary’ in a professional manner. To succeed in this performance, participants need to balance the formats' expectations of ‘ordinariness’ against their position as increasingly professional actors acting ‘ordinary’.

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