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Television in Europe has become a complex and entangled net of regional, national, transnational, Pan-European, and global elements. Thus it provides a significant case for studying the interplay and even the collision, between regions, nations and transnational entities. Since the 1980s, television broadcasting has been increasingly liberalized within the European Union (EU), thereby challenging not only the borders of national television broadcasting but also the dominance of the Public Service Broadcasting (PSB) model in Europe. The economically, even ideologically, driven opening-up of the television ecology is something that can be seen clearly in mid-decade in the UK in ongoing threats not only to the broadcaster most associated with the PSB model, the BBC, but also to a late twentieth-century PSB variant, Channel 4. In any event, this factor has had the creative effect of forcing Europe’s national PSB broadcasters to reorganize their output according to the demands of the developing European market. International co-productions and co-operations at a European level have become a crucial element of producing and programming television. This has had its effect on docudrama, which, as we argue in this book, is an even more focused case for study.
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Classen, C. 2014. Opa und Oma im Krieg: Zur Dramatisierung des Zweiten Weltkrieges im Fernsehmehrteiler “Unsere Mütter, Unsere Väter”. Mittelweg 36(1): 52–74.
Halle, R. 2008. German film after Germany: Toward a transnational aesthetic. Urbana/Chicago: University of Illinois Press.
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Paget, D. 2011. No other way to tell it: Docudrama on film and television. Manchester/New York: Manchester University Press.
- Conclusion: ‘Unity in Diversity’?
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