Bestseller and Blockbuster Culture • Vol. 7
Bestseller and Blockbuster Culture • Vol. 7

Bestseller and blockbuster culture includes new ways of producing, distributing and experiencing media. Bestseller and blockbuster productions encompass production values in which a new type of pragmatic cooperation with external partners takes place. Films and television series are produced as platform productions for different media (cinema, television, mobile media) in combination with merchandise, franchising and destination tourism. To an increasing degree, books are published as e-books, thus contributing to changes in the culture of reading. Various agents and platforms contribute to new distributive modes of bestseller and blockbuster productions: publishers, bookshops, libraries, the DVD-market, online television channels and international cooperation agents.

The phenomenon of bestseller and blockbuster culture is the subject of investigation in this volume of Academic Quarter.

Full Issue | Hele nummeret
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Gunhild Agger, Rasmus Grøn, Hans Jørn Nielsen, Anne Marit Wade
5-17
Bestseller and Blockbuster Culture. Introduction
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Rasmus Grøn
19-33
The Bestseller List and its (Dis)contents: The construction of ’the bestseller’
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Stig Hjarvard, Rasmus Helles
34-50
Digital Books on the Point of Take-off? The Ebook in Denmark Anno 2013
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Nete Nørgaard Kristensen, Unni From
51-65
Blockbusters as Vehicles for Cultural Debate in Cultural Journalism
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Bent Sørensen
66-79
Fieldwork: Paul Auster as a Popular Postmodern Fiction Writer
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Birgit Eriksson
80-92
Pure and Public, Popular and Personal: and the Inclusiveness of Borgen as a Public Service Blockbuster
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Brian Russell Graham
93-105
Frye and the Opposition between Popular Literature and Bestsellers
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Kerstin Bergman
106-118
Genre-Hybridization – a Key to Hyper-Bestsellers? The use and function of different fiction genres in The Da Vinci Code and The Millennium Trilogy
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Maria Nilson
119-131
From The Flame and the Flower to Fifty Shades of Grey: Sex, Power and Desire in the Romance Novel
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Anker Gemzøe
132-143
The Family Saga as a Bestseller Strategy
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Steen Christiansen
144-158
Hyper Attention Blockbusters: Christopher Nolan’s Batman Trilogy
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Anders Lysne
159-171
Tonally Teen? Issues of Audience Appeal in Contemporary Danish Youth Films
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Kim Toft Hansen
172-188
Blockbuster Genres in Danish Independent Film
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Anne Marit Waade, Pia majbritt Jensen
189-201
Nordic Noir Production Values: The Killing and The Bridge
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Rune Eriksson
202-215
Characters and Topical Diversity: Characters and Topical Diversity
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Margaret Mackey
216-236
Finding the Next Book to Read in a Universe of Bestsellers, Blockbusters, and Spin-Offs
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Thessa Jensen, Peter Vistisen
237-248
Tent-Poles of the Bestseller: How Cross-media Storytelling can spin off a Mainstream Bestseller
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Claus Toft-Nielsen
249-262
“It’s such a wonderful world to inhabit”: Spatiality, Worldness and the Fantasy Genre
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Constantine Verevis
263-282
Blockbuster Remakes
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Lynge Agger Gemzøe
283-298
Brødre vs. Brothers: The Transatlantic Remake as Cultural Adaptation
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Gunhild Agger
299-316
The Role of History in Bestseller and Blockbuster Culture
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Mirjam Gebauer
317-335
When the Ocean Strikes Back: Frank Schätzing’s Eco-thriller The Swarm and the Pop-cultural Imagination of Global Environmental Disaster
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Mikkel Fugl Eskjær
366-349
The Climate Catastrophe as Blockbuster
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Anna Estera Mrozewicz
350-365
Porous Borders: Crossing the Boundaries to ‘Eastern Europe’ in Scandinavian Crime Fiction
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Jim Collins
366-379
Fifty Shades of Seriality and E-Readers Games: Key Note Speech
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