Nordic Noir and Scandimania where do we go from here?

Transkript

1 Nordic Noir and Scandimania where do we go from here? An exploration of the development of Denmark s brand in the minds of UK consumers Helle Sjørslev (302657) Marketing and Management Communication Department of Business Communication Business and Social Sciences, Aarhus University May 2014 Supervisor: Christina Søgaard Jensen Total number of characters: 54,886

2 Abstract This thesis works in the fields of nation branding and tourism. It focuses on the recent popularity of Nordic culture with special emphasis on Danish TV series and their new genre called Nordic Noir. This is especially evident in the UK, where the TV series have reached cult status. During recent years, the Nordic Noir TV series have become associated with the Denmark brand in the UK. In this thesis, the Nordic Noir TV series and UK consumers will therefore be put in a context of nation branding and tourism in order to discuss the strengthening of the Denmark brand. The main findings in the thesis was that Nordic Noir seems to have become an advantage for the Denmark brand in a competitive market of nation branding, where there is an increasing need to differentiate and create unique experiences for the consumers. It was also found that Nordic Noir is one out of many diverse associations with the Denmark brand both in the UK and in other countries. At the same time it was found that the power of brands lie in the minds of consumers, which opened up for a wider discussion of whether or not nation brands can be managed. It was found that the management of nation brands is a difficult task involving stakeholders with each their own agendas and continuously evolving associations of multi-faceted character. Thus, it seems that nation brand managers are never fully in control of the brand images of nations. Finally, it was concluded that there is a fine line between differentiation and the creation of a simple, yet recognizable image. However, a way to cope with the many challenges connected to nation branding is through dialogue and interactivity with consumers, which were found essential when maintaining a constantly evolving nation brand. Key words: nation branding, tourism, Denmark, UK, brand identity, brand image, Nordic Noir, social constructionism Characters: 1,575 Page 2 of 70

3 Table of Contents 1. Introduction Motivation Problem statement Theory of science: Social constructionism Theoretical framework Delimitations Method and structure Branding and destination branding Branding and the difference between identity and image Product branding and destination branding Managing nation brands Tourism Tourism and the search for a unique experience The constructed reality of tourism Research The constructed reality of VisitDenmark Telephone interview: Henrik Kahn, VisitDenmark UK office The target groups in the UK Associations with Denmark The shaping of Denmark s image New Nordic Noir Telephone interview: Agnete Sylvest Jensen, Head of Digital Media, VisitDenmark The UK and New Nordic Noir Nordic Noir as one corner of branding Denmark VisitDenmark s general way of working Sub-conclusion: Main findings A critical stance towards the interviews The constructed reality of UK tourists Analysis and discussion The brand image versus brand identity of Denmark Managing the Denmark brand Page 3 of 70

4 5.3 The co-construction of the Denmark brand Points of consideration Conclusion Bibliography Journal articles Books and E-books Newspaper articles Reports Websites Film recording (Web) Links for images used on frontpage Appendices Lacob (2012) Stephenson (2014) Borgen (2014) The Bridge (2014) The Killing (2014) Jeffries (2014) Barfoed (2012) New Nordic Noir (2012) Om VisitDenmark, VisitDenmark (2012) VisitDenmark (2012) Dent et al. (2011) Anholt (2007) Telephone interview: Henrik Kahn, VisitDenmark UK office Telephone interview: Agnete Sylvest Jensen, Head of Digital Media, VisitDenmark VisitDenmark s Brand Measurement CD with video and reports Page 4 of 70

5 1. Introduction 1.1 Motivation Nordic Noir, ScandiCrime, Scandimania. These are all different words for the same meaning: Scandinavian culture is cool. During recent years, we have seen an increasing interest in Nordic culture, including TV, film, food, design and fashion. Especially Danish TV series are gaining in popularity and have reached cult status in the UK (Lacob, 2012). Although Scandinavian crime may have started with the Swedish Stieg Larsson s Millennium trilogy, Nordic TV drama accelerated in popularity when Forbrydelsen, also known as The Killing, aired in more than 135 countries including the UK (Stephenson, 2014). Now, at least three Danish TV series have successfully been broadcasted on the UK TV channel, BBC Four (The Killing, 2014; Borgen, 2014; The Bridge, 2014). These TV series have given rise to a new TV genre, Nordic Noir. In this genre, the TV series are known to provide its audience with dark crime and drama portraying complex and strong characters (Jeffries, 2014; Barfoed, 2012). What is interesting is whether this increasing interest in Danish TV series can be connected to Denmark s brand. According to Dinnie (2008), the need for destinations to create a unique identity, to find a niche and differentiate themselves from their competitors, is more critical than ever, since many destinations have almost identical selling propositions often concerned with beautiful nature and friendly locals (p. 19). As seen from a recent report made by The Danish national tourism organization, VisitDenmark, Denmark is not in Top-of-Mind in the UK (Epinion, 2013, appendix 8.16). Furthermore, although knowledge about Denmark is low compared to countries like Sweden or Norway, the UK seems to be increasingly interested and aware of Denmark as a travel destination (ibid.). Therefore, in order for Denmark to stand out on the highly competitive market of branding nations, the Nordic Noir genre might be a relevant part of Denmark s unique selling proposition towards the UK tourists. VisitDenmark recently set up a new website, called New Nordic Noir, along with other marketing initiatives targeted at the dedicated Nordic Noir fans (New Nordic Noir, 2012). This happened after it became clear that TV series such as The Killing actually helped boost UK travel to Denmark (VisitDenmark, 2012). However, how does this new shift in focus correlate to the rest of Denmark s brand? As it is, Denmark has been put on the map for several other reasons: Being ranked as the happiest country in the world (Sustainable Development Solutions Network, 2013) Page 5 of 70

6 and famous for its films, gastronomy, design and much more (Dent et al., 2011). Therefore, the Denmark brand is becoming influenced by several factors. This thesis is concerned with the themes of perception, identity and image. With the case of Nordic Noir and its UK fans, it seeks to explore several aspects concerning nation branding and the shaping of a stronger Denmark brand. 1.2 Problem statement The problem statement of this thesis is: How can the increasing interest in Danish TV series in the UK be applied to the concept of nation branding in order to strengthen Denmark s brand? With this problem statement, this thesis seeks to investigate the challenges and opportunities connected to the Denmark brand and the Nordic Noir TV series influencing it. In order to answer the problem statement, the following research questions are posed: 1. What is the UK perception of Denmark, and how does it correlate to the new associations originating from the Nordic Noir TV genre? 2. Is the Nordic Noir genre an advantage for Denmark s brand image? 3. What are the challenges connected to creating a strong nation brand? 1.3 Theory of science: Social constructionism The scientific stance of this thesis is social constructionism. According to Burr (2006), social constructionism suggests that we take a critical stance towards our taken-for-granted ways of understanding the world (including ourselves) (p. 2). This is linked to the two notions of antiessentialism and anti-realism, which entails that there is no given truth and that we each construct our own versions of reality through social interaction (ibid.). In fact, what exists is merely what we Page 6 of 70

7 perceive to exist. Therefore, social processes are the key to negotiating our understanding of reality (ibid.). Social constructionism is a complex theory of science, which also entails a few paradoxes. According to Andrews (2012), Society is viewed as existing both as a subjective and an objective reality (p. 39). This means that our understanding of society is shaped by social interactions, which forms a subjective reality. At the same time, this reality is based on taken-for-granted knowledge, which means that reality seems separate from us. Similarly, Cunliffe (2008) argues that the challenge in social constructionism is to see social reality as interwoven and as part of ourselves. Thereby, social reality not only shapes us, but is also shaped by our social interactions (ibid.). This paradigm fits the purpose of this thesis in many ways. The main themes of the thesis concerning the shaping of the Denmark brand involve theories that have been picked in accordance with the social constructionist point of view. As will be evident in the next sections, these theories will involve the concepts of destination branding and tourism. Although the concept of branding is a central topic in this thesis, it should not be viewed as fixed and merely created by the sender. This thesis will focus on the UK perception of the Denmark brand, which suggests a more open approach to the concept of branding. Fournier (1998) argues that all brands are shaped through social interaction between consumer and brand, and therefore one true version of a brand can never exist. This is an interesting thought elaborated by Christensen (2005), who states that: Marketers of today need to realize that they are no longer masters of meaning, that their products and messages are creations with a life of their own, and that their intended receivers are not passive targets but creative partners in the production of experiences and identities (p. 159) Similarly, each tourist is bound to have different experiences and to construct different understandings of a destination, which means that no universal experience will be true for all tourists (Urry & Larsen, 2011). As social constructionism prescribes, our ways of understanding the world are relative. This could be historically or culturally relative, as suggested by Burr (2006). Page 7 of 70

8 Therefore, the UK perception of the Denmark brand is a product of the arrangements prevailing in that culture (Burr, 2006, p. 3). The social constructionist view does not only affect the way theories are picked and used. It also affects the way conclusions are drawn in this thesis. According to Daymon and Holloway (2011), social constructionism belongs to interpretive paradigm, where our interpretations determine our way of viewing social reality. With this, is not only given that we construct and reconstruct meanings through social interaction. It is equally important to be aware of this construction of reality. Therefore, this line of thought should be an integral part of researching and drawing conclusions: The notion that research can and should be objective is considered illusionary by interpretive researchers, who regard themselves as a subjective, research tool, disturbing not only the research setting through their presence and communication interactions, but also through introducing their own interests, biases and preferences into their construction of the research question itself (Daymon & Holloway, 2011, pp ) This means that a critical stance should always be made towards what is being researched and the answers given. It is evident that one should also be aware of own assumptions and that conclusions should be drawn with this in mind. Therefore, this thesis will not seek to provide one true answer to building the Denmark brand in the minds of the UK consumers. Rather, it seeks to investigate the challenges and opportunities connected to the Denmark brand and the Nordic Noir TV series influencing it, as stated in the problem statement section. 1.4 Theoretical framework The theoretical frame for this thesis is concerned with the topics of branding, destination branding and tourism. In terms of branding, there will be a particular focus on the difference between brand image and brand identity. This also implies that this thesis will take its point of departure in that the power of the brand lies in what resides in the minds of the consumer (Kotler, Keller, Brady, Goodman & Hansen, 2012, p. 469). The distinction between brand image and brand identity is not only relevant in a product branding context, as given by Aaker (2010), but also in the Page 8 of 70

9 context of destination branding as stated by Dinnie (2008). Since destination branding originates from the branding of goods and services (Aronczyk, 2013), this thesis will borrow theories from both fields. Therefore, the distinction between product branding and destination branding will also be in focus, since those differences can be used in the final analysis and discussion. The thesis will draw on theories in the field of destination branding from Aronczyk (2013), Morgan et al. (2003), Dinnie (2008) as well as Anholt (2007) and his model of Competitive Identity in nation branding. Finally, this thesis will make use of theories in the field of tourism, where the focus will be on how to create unique experiences as well as the concept of the tourist gaze given by Urry and Larsen (2011). It will be evident that this thesis is written in a relatively new field of study, and therefore it will not rely on larger theoretical models or frameworks to help provide answers to the problem statement. 1.5 Delimitations In order to limit the scope of this thesis, a number of delimitations must be made. It should be made clear that this thesis could work with many different angles in order to answer the problem statement of strengthening the Denmark brand. It would seem evident to investigate the UK consumers perception of Denmark through primary research targeted specifically at the problem statement at hand. It should also be noted that attempts have been made to gather enough answers from UK consumers about their perception of and associations with Denmark. However, due to only a limited amount of responses, the research proved to be invalid. Thus, during the course of working with this thesis, it has changed its scope. This will be evident, when the Nordic Noir TV series impact on the Denmark brand will form the base of a general analysis and discussion of creating a strong nation brand. The thesis will also briefly touch upon other aspects influencing the Denmark brand image. Therefore, the increasing popularity of Danish TV series will be used as a case study to illustrate the advantages, disadvantages and challenges connected to building a strong nation brand. It will also discuss the applicability of relevant theories concerning nation branding. It should also be made clear that this thesis does not serve to provide one, true answer to the problem statement, since it deals with a relatively new field of study. This is also in coherence with Page 9 of 70

10 the scientific stance of this thesis, social constructionism, where conclusions drawn should be viewed with some reservations. Consequently, this thesis is of exploratory nature within the field of nation branding. 1.6 Method and structure This thesis is structured in 8 sections including the bibliography and appendices. In sections 2 and 3, the theoretical basis for the rest of the thesis will be given, which includes the topics of branding, destination branding and tourism. In section 4, an account of the nature of the research will be given. Since the scientific stance of this thesis is social constructionism, a qualitative research method is appropriate, as it can provide an insight into the socially constructed realities of VisitDenmark and the UK tourists. However, section 4 will provide more detail of the choice of method as well as the possible pitfalls connected to it. The research will include primary data in the form of qualitative, semi-structured interviews of two employees from VisitDenmark. While the secondary data will include a wide array of content concerning the UK consumers image of Denmark, it has been carefully selected for the purpose of this thesis. In section 5, an analysis and discussion of the main findings will be given with a special emphasis on how to create a strong Denmark brand. This will open up for a wider discussion on brand image versus brand identity as well as the management of nation brands. Finally, section 5 will include a section about points of consideration, which will provide the basis for the conclusion in section 6. Section 7 will entail the bibliography of all relevant sources used in this thesis. In section 8, all newspaper articles, screenshots of various websites, the transcribed qualitative interviews in their original languages and VisitDenmark s Brand Measurement of 2013 can be found. Furthermore, VisitDenmark s brand measurement report of 2013, the World Happiness Report 2013 by the United Nations as well as the documentary called Scandimania is enclosed separately on a CD. Page 10 of 70

11 2. Branding and destination branding 2.1 Branding and the difference between identity and image Branding is concerned with how a particular product or service can be distinguished from its competitors (Kotler, et al., 2012). In order to be successful with this distinction, each brand is measured in terms of brand equity, which is the value added to the products or services offered through the way consumers think, feel and act towards the brand (ibid.). What is evident in these definitions is the fact that consumers are a big part of determining the success of a brand. This is further reinforced, when Kotler et al. (2012) states that the power of the brand lies in what resides in the minds of the consumer (p. 469). This is vital for the purpose of this thesis, since it is based on the scientific stance of social constructionism, where reality is constructed and shaped by interactions and meaning sharing (Burr, 2006; Andrews, 2012; Cunliffe, 2008). The notion that the consumers hold the power of brands is not an unusual thought. As mentioned in the section about theory of science, current marketers need to become aware that their intended messages have lives of their own. Brands never have one true version and the consumers are not to be seen as passive audiences, but as important assets in the shaping of the brands (Fournier, 1998; Christensen, 2005). With this in mind, there is an important distinction to be made between brand image and brand identity. According to Aaker (2010), brand identity is a unique set of brand associations that the brand strategist aspires to create or maintain (p. 68). That is, brand identity can be understood as the core concept. However, this does not always correspond with the consumers associations and expectations towards a brand. The perception of a brand in the minds of the consumers is referred to as the brand image, which can be useful when developing the brand identity (Aaker, 2010). Dinnie (2008) and Anholt (2007) agrees that the two concepts can be applied to destination branding. According to Dinnie (2008), brand identity refers to the essence of a nation brand, whereas the brand image refers to the perception of the nation brand. What is essential to be aware of in this context, is that often there is a gap between the two. This is also relevant in a nation branding perspective, since it can cause frustration when stereotypes and clichés stand in the way of how a nation want to be perceived (Dinnie, 2008). The two concepts of brand image and brand identity are therefore important to distinguish for the purpose of this thesis, since the Page 11 of 70

12 Nordic Noir TV series is one of the newer associations with the Denmark brand (VisitDenmark s Brand Measurement 2013, appendix 8.15). 2.2 Product branding and destination branding As can be seen from the above section, destination branding can make use of concepts within branding. Aronczyk (2013) claims that nation branding takes its cues from but is not the same as product branding (p. 8). Nation branding have often been criticised for merely marking national symbols with logos and slogans as if this type of branding could be standardized (ibid.). According to Dinnie (2008), little theory exists about the phenomenon of nation branding. Similarly, Caldwell and Freire (2004) states that destination branding is a rather new concept, where there is a lack of empirical and academic research. This might also be the reason why branding theories have often been applied to destination branding cases, since it originates from that field of study. Nevertheless, destination branding is claimed to be one of the hottest topics among place marketers of today and can be applied to cities, regions, states and countries or nations (Morgan, Pride & Pride, 2003). As Aronczyk (2013) mentions, nation branding can borrow from product branding. Although the terms may be different, they do have certain features in common. Besides from the common usage of brand image and brand identity, the importance of finding a unique selling proposition is crucial for destination brands. According to Morgan et al. (2003) and Dinnie (2008), destinations increasingly need to differentiate themselves and create a unique identity, which can make them stand out on a competitive market. As it is, destinations are often being accused of claiming almost identical selling propositions (Dinnie, 2008). While it has already been mentioned that branding of nations is a relatively new concept, there is a growing global competition on the market. This is due to its many advantages, if the branding is done successfully: it can attract tourists, motivate for inward investments and enhance export (ibid.). Thus, the advantages of nation branding creates a competitive market, where there is a need to stand out in in order not to be subject for substitutability (Morgan et al., 2003). As with product branding, it seems that destination brands also need to find unique selling propositions. For the purpose of this thesis, it is thus vital for the Denmark brand to find a way to Page 12 of 70

13 stand out compared to their competitors. What is interesting is the way nation brands choose to differentiate themselves. According to Morgan et al. (2003), The battle for customers in tomorrow s destination marketplace will be fought not over price but over hearts and minds this is where we move into the realm of branding (p. 12). This points to the direction that equally to product branding, the power of nation brands lies in the minds of the consumers. 2.3 Managing nation brands As seen from the above section, it is important to make a distinction between product branding and destination branding. However, since destination branding is such a new topic, the same theories originating from product branding are often applied to branding destinations such as cities, regions and nations. In this paper, it will become obvious that nation branding have both similarities to product branding as well as differences. However, it will be evident that nation branding is a more complex concept. According to Fan (2010), a nation brand is a complicated multi-facet construct (p. 97). Therefore, it is claimed to have far more differences than similarities to product branding. Firstly, a nation brand will always exist, since any country will always have a certain image in the minds of its international audience even without any conscious branding efforts (Fan, 2010). This means that a nation brand is: The total sum of all perceptions of a nation in the minds of international stakeholders, which may contain some of the following elements: people, place, culture/language, history, food, fashion, famous facets (celebrities), global brands and so on (p. 98). Thus, it may seem that nation branding is a far more complex concept, since it deals with a country s image held by several different stakeholders. Due to the highly competitive nature of the destination marketplace and the complexity just described, it may seem a rather difficult task to manage the branding of nations. Anholt (2007) Page 13 of 70

14 agrees that nation branding is a complex concept. He claims that every inhabited place on earth has a reputation, just as products and companies have brand images (p. 7). However, he emphasizes the fact that the reputations of places happens in a much more complex and often random way. He also makes it clear that it can be extremely hard for a country to persuade foreign stakeholders of the benefits behind the multifaceted complexity of a nation s brand image, since clichés and stereotypes are often connected to the nations. When you haven t got time to read a book, you judge it by its cover (Anholt, 2007, p. 1). Thus, it can be concluded that branding nations is far more complex and challenging in a highly competitive market, where all nations seek to stand out with each their own unique selling propositions. It does not make it any less complicated, when you think about the many internal stakeholders in a nation, which all help in contributing to the overall image of a nation. As Fan (2010) mentions, this can include everything from people, places, culture, history, food, fashion, celebrities and global brands. Here, Anholt (2007) proposes a solution. He claims that nation brands can be managed by using the concept of Competitive Identity. With this, he means a coordinated brand management involving six points of a hexagon (see appendix) including exporters, importers, government, the culture sector, tourism, immigration and all aspects of international relations (Anholt, 2007). The assumptions behind the theory of Competitive Identity is that When governments have a good, clear, believable and positive idea of what their country really is, what it stands for and where it s going, and manage to coordinate the actions, investments, policies and communications of all six points of the hexagon so that they prove and reinforce this idea, then they stand a good chance of building and maintaining a competitive national identity both internally and externally (Anholt, 2007, p. 26) Thus, Anholt (2007) claims that nation branding can be managed, if actions and communications are coordinated in such a way that a nation s brand can appear more clear and coherent. This is highly relevant for the purpose of this thesis, since the Denmark brand is currently influenced by several associations not only including the Nordic Noir TV series, but also food, fashion, design and more (Dent et al., 2011). With Denmark as the new it -country, how can you manage the many new directions the brand is taking? In addition, can a nation brand actually be managed? These Page 14 of 70

15 will among others be points of discussion later in this thesis, when the influence of Nordic Noir will be analyzed and discussed in relation to the strengthening of the Denmark brand. 3. Tourism 3.1 Tourism and the search for a unique experience As Morgan et al. (2003) and Dinnie (2008) emphasize, there is an increasing need in the field of nation branding to find ways to differentiate and find unique identities. This does not only entail the brand building process, but also includes the aspect of tourism. According to Swarbrooke and Horner (2003), the definition of tourism is a short-term movement of people to places some distance from their normal place of residence to indulge in pleasurable activities (p. 4). Similarly, Urry and Larsen (2011) claim that tourism is about the movement of people to various destinations, which are outside of their usual place of residence or work. Therefore, there is always an intention of returning home after a certain amount of time (ibid.) Tourism is claimed to be part of the modern experience and can be seen as an indication of status, since it shows good health and a cosmopolitan outlook (ibid., p. 5). An outlook to places outside your normal place of residence or work is therefore an essential part of being a tourist. It is said that tourism happens due to the distinction between the ordinary and the extraordinary, which means that tourists seek to fulfil the needs of being separated from everyday experiences (ibid.). This is relevant to recent trends in tourism. According to Swarbrooke and Horner (2003), tourists are increasingly looking for non-touristy and unspoilt destinations (p. 86). This underlines the fact that audiences are increasingly interested in more unique and authentic experiences. As it is, VisitDenmark in cooperation with Wonderful Copenhagen offer exclusive looks behind the scenes of the Nordic Noir TV series (New Nordic Noir, 2012). For instance, tourists can join The Killing -themed guided tours around the streets of Copenhagen (ibid.). With this in mind, the Denmark brand might benefit from the Nordic Noir associations. This will be used later in this thesis in the analysis and discussion of the strengthening of the Denmark brand. Page 15 of 70

16 3.2 The constructed reality of tourism As mentioned above, tourists travel as part of the modern experience, where they can become fascinated of places out of the ordinary (Urry & Larsen, 2011). According to Urry and Larsen (2011), the concept of the tourist gaze can be applied to tourism. This is concerned with tourists as gazers and the places as gazees (ibid.). Here, places are being gazed upon due to the expectations and anticipations connected to them. These expectations are socially constructed through nontourist technologies such as film, TV, literature, magazines, CDs, DVDs and videos (ibid., p. 4). Furthermore, the gazes are often reproduced in the form of photographs, postcards and films, which tourists have visually objectified (ibid.). This also means that people automatically form opinions of a place, even before they have experienced it. However, these opinions may be very different for the same place, depending on the exposition of non-tourist technologies and thus the socially constructed reality of different tourists. As a consequence, there will never be one true tourist experience, since every tourist gaze will be different (ibid.). This constructed reality formed even before the tourist experience takes place will prove to be an essential part of the analysis and discussion of the Denmark brand. According to theory, expectations towards Denmark as a tourist destination might already have been formed by not only the audiences of the Nordic Noir TV series, but also through various media channels and the social reality of the potential tourists in the UK. 4. Research 4.1 The constructed reality of VisitDenmark As previously mentioned, the scientific stance of this thesis is social constructionism, which is concerned with social reality as constructed and shaped by interactions and meaning sharing (Burr, 2006; Andrews, 2012; Cunliffe, 2008). It is therefore essential to investigate both the social reality constructed by VisitDenmark and the image of Denmark as constructed in the minds of the UK audience. A way to investigate these constructed realities is by means of qualitative research. According to Bryman (2001), qualitative research emphasizes words rather than numbers. Furthermore, Daymon and Holloway (2011) argues that in-depth interviews are a major source of data in qualitative research and differs from quantitative research in the fact that it is less structured and Page 16 of 70

17 allows for interviewer and interviewee through social interaction to collaborate to produce meaningful, situated accounts of participants experiences (p. 220). Thus, qualitative interviews seem to have many advantages in order to pursue an investigation of VisitDenmark and the UK audience s perspectives on their social reality. For the case of this thesis, two semi-structured interviews were conducted. Both interviews were conducted via telephone, which both have its advantages and disadvantages compared to interviews through other channels. Face-to-face interviews certainly have its advantages, since you are able to decode body language and facial expressions, which would enable you to know more precisely what meanings are being spoken and when to ask for elaboration or move on to the next question. However, since the interviewees were situated across long geographical distances and even time zones, telephone interviews were the best alternative. This still allowed for less structured interviews, where questions for elaboration or newly arisen questions could be addressed as the interviews evolved. According to Daymon and Holloway (2011), semi-structured interviews have more focus on issues or topic areas, which means that the sequencing of questions was adjusted to each interview. Although each of the two interviews took their starting points in the interview guides, the course of the interviews could be adjusted and issues could be addressed in accordance to their relevance. Thus, the two semi-structured interviews collected similar types of data, but allowed for new perspectives and insights into each interviewee s social reality. The interview guides were shaped in accordance to the guidelines of Daymon and Holloway (2011), which states that no leading, ambiguous or double questions should be asked. Furthermore, no jargon, academic or technical terms should be used. On the contrary, the questions should be phrased clearly and the interviewee s language should be used in order to fit their social reality. Thus, the two interviews were conducted in Danish, since this is the native language of the interviewees. The transcribed interviews can be found in the appendices in their original language (8.13 and 8.14). However, important quotes are translated and used for argumentation in the next sections. Page 17 of 70

18 4.1.1 Telephone interview: Henrik Kahn, VisitDenmark UK office The first interview was with Henrik Kahn, director for the UK market of VisitDenmark. Through his 14 years of experience within the UK market, he was able to answer a number of questions regarding the relevant target groups in the UK, their perception of Denmark and VisitDenmark s initiatives in attracting more UK tourists to Denmark. In the following, a number of findings and themes will be stated based on the first interview The target groups in the UK One of the first things to establish in the interview was the target groups in the UK. The primary target group relevant to VisitDenmark is adult couples in the age group of 45+. The target group mainly goes to Denmark for short holidays or prolonged weekends. That is, either city breaks mainly in Copenhagen or quiet holidays in castles or manor houses. They go out to eat. They like to enjoy walking around in a big city, where there is no noise. They typically come from London, where there is a lot of noise, traffic and cue. Then they arrive at a city with no cues and no noise, in their opinion. The small city, where you can get around by bike. And it s not dangerous to go by bike. That is a definite image According to Henrik Kahn, this target group is the same relevant to the UK newspaper The Guardian and the TV channel BBC Four, which broadcasts the Danish TV-series Borgen, The Bridge and The Killing (Borgen, 2014; The Bridge, 2014; The Killing, 2014). The same target group is apparently active on social media, and more than what you would think, according to Henrik Kahn. Therefore, Henrik Kahn also points out how important it is to be present at all relevant social media platforms: We are on Twitter, Facebook, Instagram. You name it, we re there. That is the way it goes at the moment. We do newsletters, we have websites. This is where everything happens at the moment. People write and discuss we respond It is increasingly becoming dialogue marketing Page 18 of 70

19 Besides from social media platforms, Henrik Kahn mentioned how VisitDenmark in the UK work very consciously with large campaigns. Furthermore, they are focused on media channels such as newspapers and blogs. In that way, they are concerned with spreading relevant news about Denmark. This is interesting since Henrik Kahn also claims that the target audience are influenced by among others newspaper articles. However, the UK target group does not have much knowledge in general about Denmark. Therefore, Denmark is not in Top-of-mind of the UK target group. On the other hand, Henrik Kahn mentions how quickly the UK market is evolving. Thus, his implied opinion is that Denmark is moving in the right direction when it comes to this market Associations with Denmark One of the main themes of the interview with VisitDenmark s head of the UK office, Henrik Kahn, was the target group s perception of Denmark. For those of the target group who have been to Denmark, there is a generally positive mention of the Danes themselves: What most of them [the UK tourists] look at; what most of them write about, is the Danes themselves Very heart-warming, you feel welcome, everybody speaks English, smiling Everything the Danes do not say about the Danes, is what UK tourists say about Danes. Very positive. According to Henrik Kahn, there can be several reasons for UK tourists to go to Denmark. However, they do not go to Denmark to see certain attractions, such as the Little Mermaid or Tivoli in Copenhagen: They [the UK tourists] travel for the little treasures. They like to walk around to find little treasures. It could be a small museum, or stroll around Nyhavn, or listening to free music whenever a festival is running. This is further elaborated, when Henrik Kahn mentions how Denmark in many years has been associated with the Danish word hygge. When roughly translated, hygge comes close to the Page 19 of 70

20 term coziness. Although this word may be hard to translate precisely, it is in many ways connected to the Danish culture (Bain, Bonetto & Stone, 2012) The shaping of Denmark s image During the course of the interview, the image of Denmark was widely elaborated. Denmark has had several images through time. According to Henrik Kahn, Denmark used to be associated mainly with H.C. Andersen and design. However, during recent years, Denmark s image has started to change. VisitDenmark in the UK have experienced an increased interest in Denmark due to many new aspects associated with Denmark. This includes Vikings, Noma and Nordic food, fashion and now, Nordic Noir. So all of those things have resulted in an increasing interest, increased knowledge [of Denmark]. And with increased knowledge comes curiosity. And this leads to more travelling This also influences the way VisitDenmark work. Henrik Kahn explains that VisitDenmark in the UK are very focused on what is current in the media about Denmark. Furthermore, they work with different themes in large campaigns, when a new topic is relevant in connection to Denmark. This could be the 1000 year mark of the Vikings coming to England, Eurovision Song Contest in Copenhagen or a new season of the TV-series The Bridge. Therefore, Henrik Kahn points out how several factors help create more interests in Denmark, including the Nordic Noir New Nordic Noir When it comes to the increasing interest in Denmark, Henrik Kahn agrees that Nordic Noir had an influence. He believes that it has helped create more curiosity about Denmark and the Danes themselves. However, he underlines the fact that a lot has happened in the area of UK tourism in Denmark in recent years. That is, design, Nordic food and now Danish TV series have all contributed to this development, he says. A final remark in the interview was related to whether or not the Danish TV-series match the rest of Denmark s brand. The Danish TV-series are often described as dark and mysterious (Lacob, Page 20 of 70

21 2012; Scandimania, 2014). But does this really fit into the image Denmark has had so far with associations such as hygge and being ranked as the happiest country in the world (Sustainable Development Solutions Network, 2013)? According to Henrik Kahn, the Danish TV-series are not so much dark and mysterious as they are realistic and human: I rather think that the crime series are realistic and more human. That is rather what they say in the media. That you can believe the characters played, because they could be like this that it is not an unusual way to live, compared to many of the American or British crime series. Thus, he concludes that what attracts the UK about the Nordic Noir genre is connected to the Danish way of being straightforward and down-to-earth. It is therefore also implied that it does not conflict with any previous images of Denmark. Rather, fiction might have helped shape the image of Denmark. This will also be elaborated in the next interview Telephone interview: Agnete Sylvest Jensen, Head of Digital Media, VisitDenmark The second interview was with Agnete Sylvest Jensen, head of Digital Media in VisitDenmark s office in Copenhagen. After the first interview with Henrik Kahn, a number of answers were given, which helped create a new focus for the next interview. Since the scientific stance in this thesis is social constructionism, it is important to be aware of these new findings concerned with Denmark s image and use them to investigate further in the second interview. Thus, the second interview was particularly focused on VisitDenmark s website aimed at Nordic Noir fans called New Nordic Noir. Agnete Sylvest Jensen could help make clear how VisitDenmark seek to attract tourists through this channel and how this differs from VisitDenmark s general way of working The UK and New Nordic Noir As mentioned in the interview with Henrik Kahn, VisitDenmark have seen an increasing interest in Denmark due to the Nordic Noir TV series. Similarly, Agnete Sylvest Jensen claims that particularly the UK has shown an increasing interest in Denmark as a tourist destination. Although this may be Page 21 of 70

22 due to many other associations with Denmark, she is under the impression that the Nordic Noir TV series are a contributing factor to this increasing interest in Denmark. However, it quickly became clear that the increasing interest in Nordic Noir and Denmark is not only based on the fact that the TV series aired in the prime time of UK TV. The UK VisitDenmark office in London actually run campaigns and seeks press coverage on Nordic Noir and Denmark in that connection. This is interesting, since VisitDenmark seem to help construct a certain image of Denmark in the Nordic Noir context. Since the UK seems to be particularly interested in the Nordic Noir TV series, it was no surprise that they too are among the most frequent visitors on VisitDenmark s website called New Nordic Noir. According to Agnete Sylvest Jensen, this is also highly related to the purpose of the website: The purpose [of the New Nordic Noir website] is to use the interest in Denmark and in Danish crime series. Not just in the UK, but in other European countries as well. To use it as a hook to increase the interest in Denmark So that we place them in Denmark and make Denmark relevant in that context Thereby, VisitDenmark seems to be using the increasing interest in Nordic Noir to their advantage. That is, they are interested in connecting Denmark to the success of those TV series Nordic Noir as one corner of branding Denmark Although Nordic Noir is one of the big influencers on the Denmark image, particularly in the UK, it quickly became clear that the Denmark brand is influenced my many other contributing factors. Agnete Sylvest Jensen claims that the Nordic Noir TV series should be seen as a contributing factor for people to gain an interest in Denmark. However, there are several other aspects, which can influence people to choose Denmark as a travel destination. So it [Nordic Noir] is more as a motivator to open up to a larger market Agnete Sylvest Jensen further elaborates by stating that every country associates different things with Denmark. To the Germans and the Dutchmen, the water and the nature seems to be most Page 22 of 70

23 appealing. To the Norwegians, Denmark is associated with being a family place with amusement parks. To the Swedish, the food is particularly interesting. Thereby, Agnete Sylvest Jensen underlines that Denmark is associated with many different aspects depending on the different markets. Thus, a nuanced image of Denmark begins to take shape VisitDenmark s general way of working When it became clear that VisitDenmark are aware of the many contributing factors to shaping the Denmark brand and image on different markets, an insight into the way VisitDenmark generally work was given. As Henrik Kahn also mentioned, VisitDenmark focus the marketing on certain themes. This was elaborated by Agnete Sylvest Jensen: If we see an interest in a certain theme, we focus on that This means that whether there is a focus on design, architecture or Nordic Noir, VisitDenmark use relevant and current themes as a way of gaining market share and more interests in Denmark as a travel destination. This is emphasized when looking at the VisitDenmark website, which states that successful marketing in their point of view attracts more value creating tourists to Denmark, so that the market share and turnover can be increased (Om os, 2012, appendix 8.9). In this way, the New Nordic Noir website does not stand out a new way of marketing Denmark. In fact, it fits into the rest of VisitDenmark s way of branding Denmark Sub-conclusion: Main findings In conclusion, these two interviews helped establish several relevant topics in order to analyze and discuss the shaping of the Denmark brand in relation to Nordic Noir and the UK tourists. Firstly, not only the Nordic Noir TV series help increase the interest in Denmark. In fact, it became clear in both interviews that the media, fiction and VisitDenmark themselves help shape and construct certain images of Denmark. Furthermore, VisitDenmark work in certain themes. This means that Nordic Noir can be established as one association, which helps shape the perception of the Denmark brand, particularly in the UK. However, multiple other associations are linked to the Denmark brand at the same time depending on the different markets. Thus, the Denmark brand is Page 23 of 70

24 multi-faceted. These main findings can be used in the analysis, where the relevant theories will be applied and discussed A critical stance towards the interviews Although reasons for choosing qualitative research have already been outlines before the presentation of the main findings in the interviews, a critical stance should always be made when working in the paradigm of social constructionism. According to Bryman (2010), there are main two criteria for assessing qualitative research: trustworthiness and authenticity. The criteria of authenticity raises a wider set of issues concerning the wider political impact of research (Bryman, 2010, p. 274), which is not of particular relevance for the purpose of this thesis. However, trustworthiness is being judged on whether the research is done in a credible, transferable, dependable and confirmable way. The research aimed at this thesis can be said to be both dependable and credible, since it attempted to follow the guidelines of Daymon and Holloway (2011). However, one should view all the answers in the interviews with some reservations, since those guidelines can easily be broken. Before the interviews, each interviewee was briefly told about this thesis in order to understand the context. However, during the course of the interview, some answers were automatically responded in relation to Nordic Noir and the UK, even though the question might not be leading in that way. This is often referred to as the interviewer effect (Daymon & Holloway, 2011). The results of the qualitative interviews can also be argued to be transferable, since some of the findings pointed in the direction that not only the Nordic Noir TV series help shape the Denmark brand image. It was found that many aspects play a role in the shaping of the brand, which can be transferred to other cases of nation branding, since it is said to be more complex than product branding (Aronczyk, 2013; Fan, 2010; Anholt, 2007). Finally, the research can be said to be confirmable, since this includes recognizing that complete objectivity is not possible, but that the researcher acted in good faith. This leads to the importance of mentioning that these two interviews should not be seen as providing the full picture of the social construction of VisitDenmark. However, it seems that both interviews pointed in the same directions as mentioned in the sub-conclusion. Page 24 of 70

25 Finally, it is important to mention that since the scientific stance in this paper is social constructionism, the interviewer will always to affected by those opinions discussed in the interview. Therefore, the first interview made some things clear, which could be investigated further in the second. In this way, an in-depth understanding was created of the way VisitDenmark work in constructing a certain image of Denmark for the UK tourists. 4.2 The constructed reality of UK tourists The two qualitative interviews serve as crucial evidence for the constructed reality of VisitDenmark. However, it may prove interesting to investigate whether the UK image of the Denmark brand corresponds to the one mentioned in the two interviews. Although it was not possible to gather any primary data concerning the UK image of Denmark, several secondary data is available. As Urry and Larsen (2011) claims, tourists have socially constructed expectations for certain places based on non-tourist technologies such as film, TV, literature, magazines, CDs, DVDs and videos (p. 4). This means that not only the dark and mysterious characteristics of the Nordic Noir TV series can be seen as part of the Denmark brand image. Equally, other media of entertainment not necessarily connected to tourism can be used as a marker of the Denmark brand image in the minds of UK consumers. It is interesting to look further into the image of Denmark portrayed through the Nordic Noir TV series such as Borgen, The Killing and The Bridge. These TV series have a devoted base of audiences in the UK, which have lasted more than three years (Jeffries, 2014). Several reasons might point in that direction. They are known to provide their audiences with dark crime and thrilling drama portraying complex and strong characters (Jeffries, 2014; Barfoed, 2012). Especially the female characters have proved interesting, since they are portrayed with all their flaws and yet seem sympathetic (Lacob, 2012; Stephenson, 2014). What seems evident is that the TV series treat us like adults, which is appealing to many (Lacob, 2012; Barfoed, 2012). One can take a deeper look into the general portrayal of Denmark in various media. As it was mentioned in the interviews, the UK audience is highly influenced by newspaper articles, which can also be justified by the theories provided by Urry and Larsen (2011). Among others, newspaper articles portray Denmark as associated with films, gastronomy, design, fashion, literature and the weekend get-away (Dent et al., 2011). Page 25 of 70

26 One can also look into what is said in tourist books such as those produced by Lonely Planet. Although these books are aimed at tourists and therefore does not fit the definition of non-tourist technologies by Urry and Larsen (2011), they can help make clear what image Denmark has in that connection. According to one of the most recent Lonely Planet editions about Denmark, the country is associated with being heart-warming and forward-looking in terms of design and social development (Denmark, 2012). Furthermore, Denmark is associated with the Danish word hygge, happiness, Vikings, H.C. Andersen, Lego and New Nordic cuisine (ibid.). During recent years, Denmark has been put on the map for several reasons and has been associated with being trendy and cool. This also goes for the rest of Scandinavia, which lead to the production of a documentary with three episodes named Scandimania, one episode for each country (Scandimania, 2014, appendix 8.16). Here, the UK host of the documentary seeks to find what the secret is behind the increasing popularity of Scandinavian culture. He investigates as many aspects of the Danish culture as possible in order to find out what the secret ingredient is in the happiest country in the world (Scandimania, 2014; Sustainable Development Solutions Network, 2013). In the documentary, the darkness of the Nordic Noir TV series is discussed in relation to happiness. Furthermore, it is found that part of the Danish character is openness, freedom of speech, no taboos, mutual trust, social security, sustainability and trust in the state (Scandimania, 2014). These values are portrayed as something rather exotic to a foreigner, since Danes put a lot of faith in the state and are in general content with their lives (ibid.). However, what the host ends up concluding is that the secret ingredient in Denmark is hygge (ibid.). A final part of investigating the Denmark brand image is concerned with VisitDenmark s own analytics department, which every year publish reports on their target audiences behavior and associations with Denmark. In 2013, a brand measurement report was published, where numbers showed that Denmark s brand has a wide range of associations. Here Vikings, healthy lifestyle, Danish pastry and open sandwiches ( smørrebrød ), clean and fresh air as well as the Nordic Noir TV series Borgen and The Killing were all among the most associated themes in the UK (VisitDenmark s Brand Measurement, 2013, appendix 8.15 and 8.16). However, it can also be revealed from these measurements that a wide range of associations are being made across the five countries in the report: UK, Netherlands, Norway, Sweden and Germany. Thus, this creates Page 26 of 70

27 several challenges for the strengthening of the Denmark brand, since it will have to be adapted depending on the different markets. A broad spectrum of media channels could have proved interesting for the purpose of investigating the Denmark brand image. However, what is important to make out of this, is that the associations with Denmark are multi-faceted and complex. Another important detail with the Denmark brand image is that people are fascinated with the Danish culture and cannot quite put a finger on what exactly makes it so special (Scandimania, 2014). These observations will be used in the following analysis and discussion of the strengthening of the Denmark brand. 5. Analysis and discussion 5.1 The brand image versus brand identity of Denmark As already mentioned in the theoretical basis for this thesis, there is an increasing need for nation brands to differentiate themselves and to find unique identities in order to stand out on a highly competitive market (Morgan et al., 2003; Dinnie, 2008). This can be connected to the aspect of tourism, where tourists seeks experiences out of the ordinary and where there is an increasing demand for non-touristy and unspoilt destinations (Urry & Larsen, 2011; Swarbrooke & Horner, 2003). This is relevant for this analysis, since the Denmark brand needs something to differentiate itself from its competitors. What can be highlighted as the main component of differentiation for the Denmark brand at the moment, is the Nordic Noir genre. The Danish TV series such as Borgen, The Killing and The Bridge have helped create a certain constructed image of Denmark. This is also the basis for differentiation, when VisitDenmark in cooperation with Wonderful Copenhagen arrange guided Nordic Noir tours around the streets of Copenhagen (New Nordic Noir, 2012). However, as seen from the above notion of the constructed reality of UK tourists, several other factors could be the key to this differentiation. The Danish word hygge seems to be a returning theme, which can be used to describe the Danish culture. Similarly, it seems that what is cool and trendy about Denmark is hard to determine, although there is a fascination about the culture of happiness and contentment in general (Scandimania, 2014). This can also be connected to the fact that there is little knowledge about Denmark in general, and the knowledge that does exist is a Page 27 of 70

28 diverse range of images that may or may not be interrelated (Epinion, 2013; VisitDenmark s Brand Measurement, 2013). As Aaker (2010) and Dinnie (2008) state, the brand image of a product, service or even destination is concerned with the consumers perception of a brand. In the interviews, it was confirmed that Nordic Noir is only one out of many new perceptions of the Denmark brand. Especially in recent years, the list of perceptions with the Denmark brand has increased from not only including H.C. Andersen and design to TV series, films, gastronomy, fashion, and much more. This diverse range of brand images connected to the Denmark brand creates quite a challenge to set a strong nation brand for Denmark. According to Aaker (2010), the brand identity is a unique set of brand associations that the brand strategist aspires to create or maintain (p. 68). What can be taken from the two interviews is that VisitDenmark acknowledge the many images and associations with the Denmark brand. Furthermore, they claim to be working in certain themes depending on what proves interesting and current in the media. They claim to do this in order to widen their list of associations and thus to increase their market share. This brings us to question what the true identity of the Denmark brand really is. As claimed by Fan (2010), a nation brand is a complicated multi-facet construct (p. 97), which is influenced by not only the national tourist organization, in this case VisitDenmark, but also by a wide range of people, places, culture, history, food, fashion, celebrities and global brands. However, it seems that the many associations influence the Denmark brand in such a way that it can seem difficult to argue for a core identity of the Denmark brand. Are the many associations a strength for the Denmark brand? Can a nation brand be managed as such? These questions will serve the basis for the following section. 5.2 Managing the Denmark brand Although Anholt (2007) agrees that branding nations is more complex than the branding of goods and services, he claims that nation brands can be managed by coordinating the communications and actions of various stakeholders, who influence the image of the nation brands. If this succeeds, he claims that nation brands can achieve a Competitive Identity. However, the main findings of the research for this thesis reveals that a wide range of associations continuously arise in connection to the Denmark brand. Simon Anholt is often claimed to be the leading authority Page 28 of 70

29 on managing and measuring national identity and reputation (Dinnie, 2008, p. xv). However, the Competitive Identity model can due to the research and main findings of this thesis be referred to as a simplification of the complexity of managing nation brands. It can even be claimed that due to this complexity, nation brands cannot ever be fully managed. With the many associations to the Denmark brand continuously evolving, it will be difficult to coordinate all relevant stakeholders to fit their communications and actions into the purpose of one overall brand identity. This is where the arguments of Fournier (1998), Christensen (2005) and Urry and Larsen (2011) become relevant. Fournier (1998) argues that there will never be one true version of a brand, since it is constantly shaped through social interaction between consumers and brand. Similarly, it can be claimed that there will never be one universal tourist experience, since different socially constructed expectations are bound to one destination (Urry & Larsen, 2011). This is also emphasized by Christensen (2005), who states that marketers are no longer masters of meaning (p. 159). With these points of views, one can argue that the theory behind Competitive Identity is difficult to apply to a nation brand. Although Anholt (2007) claims that a nation brand can be coordinated and managed, he also recognize that a brand can be compared to the cover of a book: If you do not have time to read it, you judge by its cover. Thus, he can be argued to be the spokesperson for a more one-sided and manageable way of branding nations. According to Fan (2010) The biggest challenge in nation branding is how to communicate a single image or message to different audiences in different countries. The image of a nation is so complex and fluid that it defies the clarity implicit in a term such as brand image (p. 101) Here it is meant that one single image entailing one slogan and one campaign will never be able to appeal to everyone, especially when it comes to nation branding. Wide ranges of countries and cultures have each their own perception of a certain nation brand. However, how does a nation brand then cope with its brand image and the many associations connected to it? This brings us to a relevant discussion of nation branding. According to Widler (2007), nations are social constructs, which are constantly reproduced on a daily basis through various media, institutions and practices. Therefore, in order to survive, nation brands must constantly be re- Page 29 of 70

30 constructed (Widler, 2007). Similar to other experts in the field of nation branding, Widler (2007) sees the challenge in performing such re-constructions. He acknowledges the fact that it concerns a program, where every member of the nation is involved (p. 146). This is also the reason why Widler (2007) points in the direction that it may be impossible to have one nation, one brand, one voice (p. 147). Similar to Dinnie (2008), he agrees that in order to survive on a highly competitive market, nation brands increasingly need to differentiate themselves. However, there is a problem related to the constant re-construction and differentiation of nation brands: People need to make use of stereotypes in order to make sense of a complex world (Widler, 2007). That is, although consumers demand differentiated nation brands, which offer something out of the ordinary, they too produce stereotypes and clichés in order to tell the difference between the different nation brands (ibid.). Widler (2007) claims that stereotypes are both the enemy and the best friend of nation brands. This is an interesting thought, since there seems to be a fine line between the need to differentiate and a simple, recognizable brand image. As put by Aronczyk (2013), there is a need for differentiation in order to distinguish the nation brand from a cluttered and competitive environment (p. 75). On the other hand, if its ultimate aim is to help its object circulate as a viable commodity in the marketplace, it must remain rooted in a relational context of functional similarity or standardization (p. 75). This reveals the real challenge for the creation of a strong Denmark brand: How does the diverse collection of associations with the Denmark brand help in both creating a strong, memorable brand while at the same time differentiating the nation brand in order to survive on the competitive market? 5.3 The co-construction of the Denmark brand The above analysis and discussion so far has pointed in the direction that managing nation brands seems far more complex than any other type of branding, since it is influenced by so many aspects at the same time. This leads us to conclude that it should not be considered a goal in nation branding to rely on the planning of one-way communication, from sender to receiver. Instead, it should be suggested that branding nations is a process. As put by Ooi (2004), the branding of nations is emerging and on-going. Similarly, Kavaratzis and Hatch (2013) state that place brands are constructed in people s minds, and therefore associations with a place brand can be Page 30 of 70

31 uncontrollable and unintentional. It is therefore proposed that in order to understand a place brand s identity, the branding should be seen as a process of dialogue (ibid.). Increasingly, we therefore see an emergence of dynamic and interactive processes of sharing, reflecting, selecting, debating and experiencing image creation, because there is a move away from one-way push communication (Govers & Go, 2009). This was also acknowledged in the interviews, where Henrik Kahn mentioned how the field increasingly calls for dialogue marketing. Due to the many challenges connected to the branding of nation, it should be recognized that the construction of nation brands happens in the minds of the consumers. Therefore, in order for the Denmark brand to stand strong on a highly competitive market, where it seems that associations are continuously emerging, it is crucial that the Denmark brand is continuously evolving as well. What is suggested is therefore that the Denmark brand continuously adapt in accordance to the movement of the market. This brings us to the final part of the analysis and discussion, where points of consideration for this continuously evolving field of study will be made. 5.4 Points of consideration It should be clear by now that nation branding is far more complex than any other type of branding. This is especially evident, since the perception of the nation brand is constantly changing and re-constructed due to influences from all areas of the nation (Widler, 2007; Anholt, 2007). Therefore, a number of challenges and points of consideration can be made in order for the Denmark brand to come out strong on the other side of the many new associations. Since the Denmark brand is constructed in the minds of consumers (Fournier, 1998; Christensen, 2005), there should be given a particular emphasis on the importance of following the emergence of new associations in various media as well as listening to the consumers. This is even more evident in this field of study, where there is an increasing demand for unique experiences and differentiation in a globalized market (Dinnie, 2008; Morgan et al., 2003; Swarbrooke & Horner, 2003; Urry & Larsen, 2010). In the case of Nordic Noir and the UK consumers, the Denmark brand includes something, which differentiates itself from the rest of the competitive market of nation branding. It seems that the Denmark brand has adjusted in order to fit a new and emerging association from the minds of the UK consumers. Page 31 of 70

32 However, this thesis revealed the complexity of not only the market of nation branding, but also the associations with the Denmark brand. It seems that several associations form a diverse range of brand images, which may or may not be interrelated. This means that it is not enough for the Denmark brand to simply adjust to new associations and brand images. In order for the Denmark brand to stand strong, it still needs a core identity, which can help decide whether or not new associations and perceptions should influence the nation branding of Denmark. This should be done in order to ensure that the Denmark brand will not fall into gap between brand identity and brand image (Dinnie, 2008; Aaker, 2010). Here, it is crucial to remember to arguments of Widler (2007), which states that stereotypes can be both the enemy and the friend of a nation. It is thus important to remember the fine line between differentiation and a simple, recognizable image. 6. Conclusion This thesis has looked at the new association with the Denmark brand, Nordic Noir, and how it can be related to nation branding and the creation of a stronger Denmark brand in the minds of UK consumers. It was discovered that the Nordic Noir aspect was an advantage for the Denmark brand in a market, where there is an increasing demand for unique experiences and differentiated identities (Dinnie, 2008; Morgan et al., 2003; Swarbrooke & Horner, 2003; Urry & Larsen, 2010). This opened up for a wider discussion of the many other associations with the Denmark brand and how a multi-faceted nation brand can survive on a highly competitive market. It can be concluded that although it can be a positive aspect that many new associations with the Denmark brand can help create a larger market share, there is also a need to find a strong brand identity. It is crucial to be increasingly aware of new associations emerging in various media and in the minds of the consumers, since the branding of nations is an on-going process. However, many challenges lie ahead not only for the branding of Denmark, but for the branding of nations in general. It seems that nation brands are difficult to manage due to their complexity and multi-faceted nature. Furthermore, the fine line between differentiation and a simple, recognizable image needs to be constantly taken into consideration. This means that nation brand managers are never fully in control and need to be aware of the continuously evolving market of new perceptions and brand images. Page 32 of 70

33 7. Bibliography 7.1 Journal articles Andrews, T. (2012). What is social constructionism? The Grounded Theory Review, 11(1), Retrieved from Caldwell, N. & Freire, J.R. (2004). The differences between branding a country, a region and a city: Applying the brand box model. Journal of Brand Management, 12(1), Retrieved from Christensen, L.T., Torp, S. & Firat, A.F. (2005). Integrated marketing communication and postmodernity: an odd couple? Corporate Communications: An International Journal, 10(2), doi: / Cunliffe, A.L. (2008). Orientations to social constructionism: Relationally responsive social constructionism and its implications for knowledge and learning. Management Learning, 39(2), doi: / Fan, Y. (2010). Branding the nation: Towards a better understanding. Place Branding and Public Diplomacy, 6(2), doi: /pb Fournier, S. (1998). Consumers and their brands: Developing relationship theory in consumer research. Journal of Consumer Research, 24(4), Retrieved from Kavaratzis, M. & Hatch, M.J. (2013). The dynamics of place brands: An identity-based approach to place branding theory. Marketing Theory, 13(1), doi: / Ooi, C-S. (2004). Poetics and politics of destination branding: Denmark. Scandinavian Journal of Hospitality and Tourism, 4(2), doi: / Widler, J. (2007). Nation branding: With pride against prejudice. Place Branding and Public Diplomacy, 3(2), doi: /palgrave.pb Page 33 of 70

34 7.2 Books and E-books Aaker, D.A. (2010). Building strong brands (3rd ed.). London, UK: Simon & Schuster. Anholt, S. (2007). Competitive identity: The new brand management for nations, cities and regions. New York, USA: Palgrave Macmillan. Aronczyk, M. (2013). Branding the nation. New York, USA: Oxford University Press. Bain, C., Bonetto, C. & Stone, A. (2012). Denmark (6th ed.). London, UK: Lonely Planet. Bryman, A. (2001). Chapter 13: The nature of qualitative research. In: A. Bryman, Social research methods (pp ). Oxford University Press. Burr, V. (2006). An introduction to social constructionism. London, UK: Routledge. Daymon, C. & Holloway, I. (2011). Qualitative research methods in public relations and marketing communications (2nd ed.). London: Routledge. Dinnie, K. (2008). Nation branding: Concepts, issues, practice. Oxford, UK: Elsevier, Butterworth- Heinemann. Govers, R. & Go, F. (2009). Place branding: Glocal, virtual and physical identities, constructed, imagined and experienced. Hampshire, UK: Palgrave Macmillan. Kotler, P., Keller, K.L., Brady, M., Goodman, M. & Hansen, T. (2012). Marketing management (2nd ed.). Essex, England: Pearson Education Limited. Morgan, N., Pritchard, A. & Pride, R. (2003). Destination branding: Creating the unique destination proposition. Oxford, UK: Elsevier Science, Butterworth-Heinemann. Swarbrooke, J. & Horner, S. (2003). Consumer behaviour in tourism. Oxford, UK: Elsevier Science, Butterworth-Heinemann. Urry, J. & Larsen, J. (2011). The tourist gaze 3.0 (3rd ed.). London, UK: SAGE Publications Ltd. Page 34 of 70

35 7.3 Newspaper articles All newspaper articles can be found in appendices Barfoed, C.K. (2012, October 29). Engelsk avis: Derfor er danske tv-serier så fede. BT. Retrieved from Dent, G., Spencer, L., McIvor, J., Booth, H., Fox, I., Heminsley, A. & Batten, R (2011, March 11). Danmark hvor det sker! Or Denmark where it s at! The Guardian. Retrieved from Jeffries, S. (2014, January 31). The Bridge s Kim Bodnia: Darkness, misery, evil we do them best. The Guardian. Retrieved from Lacob, J. (2012, June 20). Forbrydelsen, Borgen, The Bridge : The rise of Nordic Noir TV. The Daily Beast. Retrieved from Stephenson, N. (2014, February 3). Dark and deadly, the 'Nordic Noir' hits keep coming. Reuters. 7.4 Reports All reports can be found in the enclosed CD as part of appendices Epinion (2013, June). Brandmåling Retrieved from Viden & Analyse, VisitDenmark s website: Retrieved from Page 35 of 70

36 Sustainable Development Solutions Network A global initiative for the United Nations. World happiness report 2013 (2013, September 9). Retrieved from Websites Screenshots of all websites can be found in appendices. Retrieved April, Om VisitDenmark. VisitDenmark The official tourism site of Denmark (2012). Retrieved from Borgen. BBC Four: Programmes (2014). Retrieved from New Nordic Noir. VisitDenmark - The official tourism site of Denmark (2012). Retrieved from The Bridge. BBC Four: Programmes (2014). Retrieved from The Killing. BBC Four: Programmes (2014). Retrieved from VisitDenmark. Danmark i den britiske presse. (2013, August 26). Retrieved from VisitDenmark. Forbrydelsen betaler sig. (2012, June 28). Retrieved from Page 36 of 70

37 7.6 Film recording (Web) All film recordings can be found in the enclosed CD as part of appendices Scandimania (Channel 4). (2014, February 21). Denmark, episode 2 [Video file]. Retrieved from Links for images used on frontpage RxOq8CQswSJnVg.0&utm_referrer=https%3A%2F%2Fwww.google.dk%2F Page 37 of 70

38 8. Appendices 8.1 Lacob (2012) Forbrydelsen Borgen The Bridge : The Rise of Nordic Noir TV The Duchess of Cornwall is just one obsessibe viewer. Nordic Noir embodied in Scandinavian dramas like The Killing, The Bridge and Borgen have become cult hits in the U.K., and are about to become the go-to formats for American TV pilots. Jace Lacob on the genre s appeal, its breakout female characters, and why audiences in the U.S. are unlikely to see many of them in their original form (but it is possible to see them!) While AMC s The Killing has been dumped in a trunk to die like Rosie Larsen, its progenitor, Denmark s Forbrydelsen, continues to slay viewers around the globe on the strength of its moody wit and strong-willed protagonist. Forbrydelsen (in English, The Crime) became a cult hit in the United Kingdom when it aired on BBC Four last year, quickly embedding itself within the cultural zeitgeist. Like The Killing, it revolves around the search for the killer of a teenage girl, tightly drawing together political, familial, and personal concerns within its web. Sales of the chunky Faroese sweater worn by the show s lead detective, Sarah Lund (Sofie Gråbøl), skyrocketed, with the jumper s maker, design firm Gundrun & Gundrun, reportedly unable to keep up with the insane demand. Camilla, the Duchess of Cornwall, was such an obsessive fan of the series it s the only show that she and Prince Charles watch together! that she visited the set of Forbrydelsen s third season earlier this year, and was delighted to be presented by Gråbøl with a Faroese cardigan in the style of Lund s. Gråbøl herself turned up in Absolutely Fabulous s Christmas special, reprising her role as Lund in a dream sequence. She was, of course, wearing The Jumper. Even people who haven t watched [Forbrydelsen] know about The Jumper, saidradio Times TV editor Alison Graham. Now, whenever a new Nordic Noir show is about to arrive, I m always asked by viewers wryly, of course about the knitwear. Sweaters aside, Forbrydelsen and its fellow Scandinavian imports The Bridge, Wallander, and 2012 BAFTA International Programme Award winner Borgen, which have been loosely dubbed Nordic Noir by its adherents have become bona fide hits in the United Kingdom. And Hollywood has responded in turn. The trail originally blazed by Stieg Larsson s The Girl With the Dragon Tattoo and BBC/PBS s English-language Wallander has resulted in a hunger for more Scandie drama, with viewers on both sides of the Atlantic gobbling up original-language versions, a trend that has continued on the television side. (Scandinavia could be close to usurping the appeal of white-hot Israel, one of the largest exporters of scripted formats to the U.S., with shows like Homeland and In Treatment. A&E is developing an adaptation of Danish crime thriller Those Who Kill, while The Bridge is a likely contender to score a remake as well.) Page 38 of 70

39 Borgen (frequently translated as Government, it actually means The Castle, a nickname for Christiansborg Palace, which houses the Danish Supreme Court, its Parliament, and the prime minister's office) revolves around the unexpected rise to power of Denmark s fictional first female prime minister, and the interplay among cabinet ministers, spin doctors, and the media, as well as the obstacles a woman in power must overcome. While not a crime drama like The Bridge or Forbrydelsen, it, too, has inspired devotion in its viewers. It had the same elements welldrawn characters and a multilayered story but no murders, said Graham. Like Nordic Noir, it transcended its origins it was about the pursuit of power and about compromise. We can all see that in our governments, wherever we are. Borgen is one of the only members of the Nordic Noir genre to air on U.S. television, where it is shown on cable/satellite network LinkTV. Borgen's outstanding storytelling speaks for itself, and great storytelling transcends cultural boundaries and language, particularly in today's entertainment marketplace, LinkTV President/CEO Paul Mason said. Like anything, there's always a few firsts, and perhaps Borgen will usher in even more interest from U.S. viewers in foreign-language programming. The story is king, though. And that s what sets Scandinavian drama apart from the crowd, though its transformation wasn t achieved overnight. The Scandinavians spent 10 years reconsidering how they did drama, improving them and getting them really right, BBC Four controller Richard Klein told The Daily Beast. That persistence has paid off, particularly when it comes to the ratings (which hover just under 1 million viewers), which, while niche by U.S. standards, reflects a huge audience for a Danish or Swedish drama. In fact, its devoted base audience appears to have an insatiable appetite for more, and Nordic Noir has become synonymous with well-crafted and electric plots, memorable characters, and a tremendous sense of setting. The female characters in particular warrant closer attention. Forbrydelsen s dogged detective Sarah Lund, the forerunner of the group, has been joined by a troika of breakout women: Borgen s resilient PM Birgitte Nyborg Christensen (Sidse Babett Knudsen) and calculating news anchor Katrine Fønsmark (Birgitte Hjort Sørensen) and The Bridge s Saga Norén (Sofia Helin). Helin s Saga, perhaps the Nordic genre s breakout character, is a socially awkward Porsche-driving Swedish detective with a penchant for wearing leather pants and making brusque statements, but more interesting, she s portrayed as being on the Autism spectrum, though the show never diagnoses her outright. (There is perhaps some overlap with Lisbeth Salander, but Saga, despite her inability to read social cues, is less outwardly antagonistic or as sharp-edged as Larsson s character.) The Bridge about the cross-cultural conflict between the Danish and Swedish police forces who must work together to stop a maniacal killer who poses a woman s body on a bridge between the two countries becomes not just a murder mystery, but rather an exploration about connections both literal and figurative. Just as Saga tries to forge an emotional connection with her partner, Martin Rohde (Kim Bodnia), the show itself parses connections between a personal guilt and societal complicity, between the past and the present, the bridges between countries, cultures, and individuals. Page 39 of 70

40 As a whole, these shows relish the portrayal of its female characters as flawed yet sympathetic, complicated yet engaging, presenting complex and authentic visions of women in positions of power. While The West Wing focused almost exclusively on the White House centric plots, Borgen follows its protagonists home, finding Birgitte struggling to balance the demands of the country with those of her family her character s marriage perhaps one of the most nuanced and realistic of any on television. Sørensen s Katrine, meanwhile, becomes enmeshed in a potential scandal and winds up pregnant with a dead politico s child; she undergoes an abortion early on in the series run and Borgen doesn t get preachy, instead showing the personal ramifications of Katrine s decision. For writerproducer David Hudgins, who developed Borgen s U.S. remake, The Independent, with Friday Night Lights s Jason Katims, the Nordic shows are smart and sexy at the same time, and never talk down to the audience. There s a tendency in American television to default to likability with your characters, he said. In Borgen and [Forbrydelsen], they are not afraid to show the darker side of these people It happens more on cable [than broadcast] network. Authenticity ties into that. You re seeing these people as they truly are, and even when they are fucked up, you end up having empathy for them. (NBC passed on picking up the project, though Hudgins said there is a possibility of it getting made later and that the network had some reservations about programming a political show during an election year. ) Graham agreed. The phrase I hear a lot is These dramas treat us like adults, she said. Not just the ability to follow a long, multistranded, and complex story, but because they are quite fearless in playing around with expectations. Major characters are killed off, and there is never any kind of redemptive aspect to the story. The latter is pretty much a requirement of British TV drama and, I would suggest, American dramas too; characters always have to learn lessons or pay the price of their misdeeds. Not in Nordic Noir. Bad people often get away with bad things. And nice people are killed off. There is an inherent darkness to the Nordic Noir shows, and a sense that the scales are never balanced or endings neatly tied up. Ironically, Denmark was named the country with the highest levels of happiness by the United Nations's first World Happiness Report earlier this year. For a country that would seem to be so well adjusted, it s intriguing that they would be producing some of the most disturbing, challenging, and dark fare on global television. That willingness to plunge into the murky recesses of the human psyche and to create compelling, realistically flawed characters places these series among the best examples of the medium, regardless of country of origin. Graham said that in the U.K., viewers discussed Homeland and The Bridge in the same breath and with the same level of passion. There was a crossover in audiences for the two; fans of both were equally excited about the series endings. They were quite similar examples of TV storytelling very bold, with characters you had to take time to get to know, people you might not actually love, but you ended up caring about. Neither had a happy, or neat ending. Where the U.S. version of The Killing became simply a watered-down version of the original, rather than going on its own path, Showtime s Homeland succeeded by using the original Israeli series Hatufim (Prisoners of War) as an Page 40 of 70

41 inspirational springboard for its own narrative. If the inevitable remakes of the Nordic Noir series are to reach the same level of success, they ll also have to stay true to the spirit of the originals without resorting to just translating. But, rather sadly, there will be few opportunities for audiences to see these groundbreaking dramas in their original languages, save for a few enterprising outlets like LinkTV. There continues to be a perceived resistance on the part of American viewers towards foreign-language fare and subtitles. There s also the sense that, because these shows demand rapt attention, something that s become increasingly impossible in many households, viewers can t multitask while watching and may have to put down their ipads in order to follow the plots of Borgen, The Bridge, and their Nordic kin. Unless you speak fluent Danish or Swedish, you have to pay attention to the subtitles, said Graham. You can t do the ironing or read. You have to look at the screen and pay attention. However, these shows are well worth turning off the phone and silencing all distractions. LinkTV, which airs Borgen, is available on Dish and DirecTV, and also streams the episodes online. As for the others, if you want to see them in their native tongues, there are few (legal) alternatives, the best of which is to invest in a region-free DVD player and order the discs through Amazon.co.uk. Despite the hassle, The Bridge and its Nordic Noir brethren are provocative and unforgettable, sinking their teeth into the viewer s imagination. Ultimately, these shows highly addictive nature needs no translation. Page 41 of 70

42 8.2 Stephenson (2014) Dark and deadly, the 'Nordic Noir' hits keep coming (Reuters) - Millions of people around the world have become avid fans of what is known as Nordic Noir detective and crime stories set in Scandinavia, with the next question after whodunit being why are they so successful? "The Bridge", a subtitled Danish-Swedish eco-terrorism crime saga reached its conclusion on British television on Saturday with more than a million viewers - the latest international success for the TV, film and literary genre. Coinciding with the show's climax, a weekend "Nordicana" conference of all things Nordic, from actors to food, brought many of the genre's unlikely stars to London where one of the questions they were peppered with was: why does this work? "I hope it's the quality of the drama and the essential things of humanity that you can imagine in all countries," said actress Sidse Babett Knudsen. Playing the role of Birgitte Nyborg, she became Denmark's first, if fictional, female prime minister in the first season of the political drama "Borgen". Life later imitated art and Helle Thorning-Schmidt, whose "selfie" with U.S. President Barack Obama and British Prime Minister David Cameron at Nelson Mandela's memorial service made headlines, became Denmark's first real female premier in Nordic Noir has a long vintage. Perhaps the best known recent success was Stieg Larsson's Millennium series of novels, starting with 2005's "The Girl with the Dragon Tattoo". They have sold more than 60 million copies and been made into Swedish and U.S. films. But for Nordic TV drama, the lodestone was "The Killing" first produced by Danish public broadcaster DR in 2007 and starring Sofie Grabol as Detective Inspector Sarah Lund. "We would be nowhere with a series like 'Borgen' if it hadn't been for 'The Killing'," Babett Kudsen told Reuters. "The Killing" has been sold in more than 135 countries and territories, led to a U.S. remake, and made Lund's trademark rustic knitted jumpers a fashion item. Piv Bernth, the show's producer and now DR's Head of Drama, told Reuters by that "The Killing" created a new way of telling a crime story. Page 42 of 70

43 "One killing in 20 episodes - you had to wait until the end if you would find out who did it," he said. "At the same time, we told a profound story about people and destinies in a modern society." At the Nordicana festival, among stalls selling open sandwiches and Swedish jewelry, one fan wore a Birk Larsen Removals T-shirt, a nod to a murder Lund solved in Season 1. There are common themes to Nordic Noir. Strong female characters reflect the emphasis on gender equality that is part of the so-called Nordic model rooted in high levels of social protection and defense of human rights. There is winter. "We have a darkness in our landscape that comes through in our writing, our directing and our acting and is at the very core of the Nordic Noir thing," said Adam Price, the Danish writer of Borgen, who is also a TV chef. There is the contrast between the image of a wealthy region that topped the United NationsWorld Happiness rankings in Denmark was first, Norway second and Sweden fifth - and the real problems dealt with in the dramas. NO PARADISE "There is no paradise on earth...the Swedish system is becoming less and less secure and more and more people are living harder lives," said Sofia Helin who plays the near-emotionless, Porsche-driving detective Saga in "The Bridge" told Reuters. "Borgen" writer Adam Price said part of the dramas' success was due to the fact that DR had commissioned multiple episodes at a time, allowing complex long-running storylines to be woven over weeks. "We can build the arc around the characters in a much more elaborate way," he told Reuters. But a state broadcaster's backing brings its own problems. "Borgen" producer Camilla Hammerich said plots had to be balanced to ensure no bias. There was even a debate about whether a right-wing party leader could be shown wearing "ugly" shoes. (Editing by Michael Roddy and Tom Heneghan) Page 43 of 70

44 8.3 Borgen (2014) Page 44 of 70

45 8.4 The Bridge (2014) Page 45 of 70

46 8.5 The Killing (2014) Page 46 of 70

47 8.6 Jeffries (2014) The Bridge's Kim Bodnia: 'Darkness, misery, evil we do them best' The Bridge 2 ends on Saturday, having rekindled our passion for all things Nordic. Kim Bodnia, one half of TV's oddest cop couple, tries to get his head round the show's runaway success On Saturday night, an estimated one million Britons will sit down for two hours to watch the finale of a 10-part cop drama, The Bridge, filmed in two languages (Swedish and Danish) that they've never even aspired to understand, still less speak. Many more will have set their hard drives, and will struggle to get through the weekend trying not to learn how TV's most diverting odd couple, Malmö detective Saga Norén and her Copenhagen counterpart Martin Rohde, will solve the case of the eco-terrorists who've been poisoning their blameless citizens with pneumonic plague virus. What's going on? Surely the Scandi-drama cupboard is bare, having been raided so many times in recent years by BBC4 commissioning editors desperate to fill that 9pm Saturday night Euro-drama slot? Kim Bodnia, who plays Martin Rohde, giggles as I ask him these questions when we meet in the Sanderson hotel in London. "Insane, right? Us Danes are from such a little country there are just four million of us. But I guess we have something to offer, something you don't have enough of." Time was when that was just bacon and Lego, but no longer. "Right! But for me this is incredible. What the hell am I doing here?" He throws off his sheepskin coat and sits surveying the pretentious lobby as though he's a hayseed taking in Times Square. "I never expected this. To be invited here by you guys! Wow! We looked to you. Now? You look to us? Incredible, dude!" A gentle bear of a man, Bodnia speaks English with an American accent that he picked up recently in New York, where he was directing The Tailor's Tale, Bodin Saphir's play about his Jewish grandfather's life in Copenhagen during Nazi occupation. Who is Kim Bodnia? "I'm half-russian, half-polish and all Jewish. At 14 I was the fastest runner in Denmark. I was nearly a professional goalkeeper. I could have been the rival of Peter Schmeichel." Good: football's loss is Danish culture's gain. Bodnia is one of a roster of Swedish and Danish actors, directors, writers and chefs who've been brought over for this weekend's Nordicana 2014 festival in London. It's there that Scandi fetishists can meet Sidse Babett Knudsen, the Dane who played the statsminister in Borgen; there too you'll be able to pay homage to Krister Henriksson, the Swede who was Kurt Wallander long before it occurred to Kenneth Branagh he could play an English-language version of Henning Mankell's hangdog Ystad detective, and take part in the great Scandinavian cinnamon bun bake-off. At Nordicana, you can attend demonstrations of other Scandianavian cuisine, watch trailers about upcoming Nordic noir movies you can even look at the iconic Porsche that Saga Norén drives in The Bridge. They missed one trick, though: if Lego had produced a commemorative scale model of the superb Øresund Bridge that lends its name to the Page 47 of 70

48 Swedish-Danish crime series that ends Saturday, then Nordicana would be the perfect tribute to Britain's strange, enduring love for Scandinavia. But what's this all about? Aren't we done with Scandinavia yet, with its sensible cars, minimalist design, self-assembly furniture, crime thrillers, witty Radio 4 presenter, and Norwegian formula hand cream? It's been three long years since British TV viewers fell in love with Nordic noir thanks to Sophie Gråbøl's Sarah Lund, the marvellously lugubrious Danish detective with a pony-tail tied with an elastic band and her non-designer wellies. It's three years, too, since Gråbøl told me as we strolled through Copenhagen that she played Lund as a traditional male detective she walked, talked and emoted like a man, and had authority issues usually reserved for maverick males. Britain adored her. But today? If you're knitting one of Lund's once fashion-forward Faroe Island sweaters in 2014, you can only be doing so ironically. Denmark in particular, and Scandinavia generally, are so 2011, aren't they? Apparently not. We're still watching the Scandinavian detectives. Why? Here are two theories, each of them put to me by a Dane this week. Kasper Holsten, director of opera at Covent Garden, reckons it's because Scandinavians are doing what British TV drama used to do. "What's happened is that the makers of [British] TV drama are looking to America and not doing what they used to do so well. That's left a gap for Danish and Swedish TV to do what you used to do take your time, develop characters and stories." It's a common theory. The Killing's head writer, Søren Sveistrup, said as much when he told me that the great virtue of British audiences liking Danish TV dramas was that it was a bulwark against cultural imperialism from the other side of the Atlantic. "Otherwise," said Sveistrup, "especially for the UK, everything becomes Americanised." What's especially intriguing about Scandi successes such as The Killing and The Bridge is that British TV audiences, usually monoglot and subtitle-averse, have embraced the originals much more than the inevitable US remakes. We like The Killing in Copenhagen rather than its Seattle-set simulacrum, thanks very much. (That said, only a fool would prefer the Swedish movie of Stieg Larsson's The Girl With the Dragon Tattoo over David Fincher's English-language version). "I don't believe that you guys have become more American in drama," counters Kim Bodnia. "The idea that you guys have lost the plot in TV drama is wrong." He has a different theory of the appeal of shows such as The Bridge. What is it? "We are caught up in the darkness. We are caught up in the paranoid shit. The darkness, the evil and the misery we just do those best." Even though Bodnia, 48, is one of the most genial interviewees I've encountered, as he sets out this theory he sounds like a cross between Kierkegaard and Ingmar Bergman. But surely you can't be right about that. Isn't Denmark regularly voted the happiest country in Europe? "It is, but you wouldn't guess that from our film or TV." True. Ever since Dogme 95 movies such as Thomas Vinterberg's Festen or Lars von Trier's The Idiots and let's not forget Lukas Moodysson's Swedish-Danish Lilya 4-ever Danish film has been not just one of the most engrossing national cinemas, but unremittingly, cherishably bleak. And Bodnia in his early days as an actor was part of this Nordic noir movement: he first starred in fellow Dane Nicolas Winding Refn's Pusher, playing a heroin dealer. "I was always good at playing evil bastards that was my speciality, professionally, until I became Martin Rohde. The Swedes got there first their dramas were always the darkest and most upsetting, and we used to love them when I was growing up in Denmark. Now us Danes have caught up." Page 48 of 70

49 This chimes with a proposition that will be tested on Sunday at London's adult education centre, City Lit, during a daylong course called Nordic Noir. The course aims to explore the idea that the popularity of recent Danish and Swedish crime films, including the adaptations of Larsson's Millennium trilogy, can be traced back to Ingmar Bergman's 1962 film Winter Light, which dramatised the Swede's existential crisis. Here's a third theory. Yes, we may have had enough of Scandinavia. But season two of The Bridge has blindsided us, reigniting our Scandi ardour (following the rather limp third series of Copenhagen's answer to The West Wing, Borgen, that finished on BBC4 just before Christmas). And the reason it's been so compelling is not so much to do with the whodunit, but rather the relationship between Bodnia's Rohde and Sofia Helin's Norén. Yes there have been odd couples in crime dramas before (Morse and Lewis, Holmes and Watson, Clouseau and Cato, not to mention Matthew McConaughey and Woody Harrelson in HBO's marvellous new series True Detective), but none so fruitful as these two.norén is a cop with Asperger's (even though that word never appears in the script) and so emotes very little, but solves crimes with devastating deductive skills. She takes the inversion of gender roles one step further than Sarah Lund: sure, she effectively plays the traditional male role (though she's much more rule-bound than Lund) and is equally affectless, but she confers on her male co-worker the traditional female attributes seen in detective dramas. It's left to Bodnia's Martin to follow Saga's lead, to say little but silently express much, to yearn for his partner to express her feelings. What's it like to play the woman's role? Bodnia laughs obligingly. "I like it! We men we are so sensitive and we have been placed in a bad role. It's unfair that we're shown without tears, without feelings. My job is to change that stereotype." Thankfully, there's more to Martin than a good man in touch with his feelings or reverser of gender stereotypes: in the finale, in one of those wrongfooting plot twists The Bridge does so well, we will learn that Martin has a dark, shameful secret that will stretch his and Saga's relationship to its limits. Yay! Otherwise, you'd think, he wouldn't really be Danish. But Bodnia's character is not endlessly mutable. There is never any question of Saga and Martin, for instance, despite his libidinousness and her love of sex, having an affair. "That would be wrong. For me, Saga is my daughter. In Norway they really want them to get together. I'm like, 'Guys, what does that say about Norway if men want to have a relationship with their daughters.' Really, though, I love Norway." Bodnia doesn't baulk when I suggest that Martin is the best role of his career, but for now he's concentrating on others. We will see him next opposite Jennifer Lawrence and Bradley Cooper in Serena, playing a hard man who gets rubbed out in the first reel. More intriguing is his most improbable role yet an Iranian interrogator in the muchanticipated directorial debut by Jon Stewart, host of The Daily Show. The film is based on the 2011 memoir, Then They Came for Me, by London-based Iranian journalist Maziar Bahari who went to cover Iran's 2009 presidential elections but wound up spending three months in the country's most notorious prison. There, Bahari was interrogated by a man he recognised only by his sense of smell hence the film's title, Rosewater. The interrogator is played by Bodnia, Bahari by Gael García Bernal. "It was a tough job because I'm Jewish. I'm playing a guy who really hates me and wants to destroy my country." Page 49 of 70

50 How did Bodnia get the part? "Jon called me up and said: 'You're the guy I need.'" But why would Jon Stewart, great satirist though he is, be making this movie? "I think Jon feels a little guilty for what happened to the journalist. You see, Bahari appeared on the Daily Show and did this routine in which he and Jon pretended he was a spy. The Iranians took it as evidence that Bahari really was a spy. So he goes to Iran and gets arrested and treated as a spy. So Jon thinks it's partly his fault." Bodnia shot the film with Stewart in Jordan and the US. As they filmed, Iranian state TV denounced the project, contending that Stewart was a Zionist CIA spy making a propaganda movie. "Jon has been directing an ultraformulaic movie commissioned by his masters," argued the Iranian TV report. Enough about Iranian interrogators. Bodnia is looking forward to season three of The Bridge, which is currently being written. But hold on. Surely there's something that happens in the season two finale that precludes your appearance? "You think? Oh no, I'm going to be in season three. Trust me, dude. I'm not done with Martin Rohde yet." Kim Bodnia appears at the Nordicana festival at The Old Truman Brewery, London E1, 1-2 Feb. The Bridge concludes on Saturday 1 Feb at 9pm on BBC Four. The DVD box set is released on Monday 3 Feb. Page 50 of 70

51 8.7 Barfoed (2012) Engelsk avis: Derfor er danske tv-serier så fede Danske tv-serier som 'Forbrydelsen' og 'Borgen' grovhitter i England, og den engelske avis Independent giver nu 10 bud på, hvorfor 'Nordic Noir' ('Nordisk sort', red.) er så populært hos englænderne: 1) Vi er ikke dumme Det danske produktionsselskab har indset, at mange seere har lang hukommelse. Den første sæson af 'Forbrydelsen' holdt spændingen i live i 20 episoder, inden detektiverne fandt ud af, hvem der myrdede Nanna Birk Larsen. 2) Rigtige kvinder Det mest appellerende ved de skandinaviske dramatikere er deres evne til at portrættere stærke, komplekse kvinder, som seerne kan relatere til. 3) Ufede omgivelser Det er de blege, snedækkede skandinaviske landskaber, der reflekterer den nationale temperatur. Den skandinaviske dramatik handler ikke om at vise seerne 'det her er det liv, du ville ønske du havde', det handler mere om at 'være taknemmelig for du ikke bor dér'. 4) 'Skandinavisk design og anti-mode' Sarah Lund begyndte dillen med sine strikkede sweaters. I Borgen er der indendørsarkitekter, som har jublet over PHlamper og Arne Jacobsen-stole i hjemmene hos hovedpersonerne. 5) Historier med social samvittighed Nordic Noirs vægt på substans før stil, udmønter sig også i de alvorlige emner, der flettes ind i hver episode. 6) Rigtige mænd I stedet for metro-seksuelle mænd uden hår, giver Nordic Noir os virkelig mænd, der drikker øl og har topmave. 7) Underdog-faktoren At se BBC 4 (som svarer til DR2, red.) svarer til at droppe supermarkedet og handle hos købmanden eller slagteren. 8) Sort humor Verbal og visuel sort humor er dér, hvor danskerne er virkelig fantastiske. Page 51 of 70

52 9) Kun for voksne Efter år med Harry Potter-agtig barnlighed er de skandinaviske dramaer med deres detaljerede obduktioner, hård sex og ind imellem nøgenhed, helt klart en nydelse forbeholdt voksne. 10) Sproget Der er noget fortryllende ved den syngende lyd af dansk Page 52 of 70

53 8.8 New Nordic Noir (2012) Page 53 of 70

54 8.9 Om VisitDenmark, VisitDenmark (2012) Page 54 of 70

55 8.10 VisitDenmark (2012) Forbrydelsen betaler sig Sarah Lund har ikke kun lagt gaderne øde i Danmark. Også i udlandet og i særdeleshed Storbritannien har Forbrydelsen fået seerne frem på stolekanten og vakt interesse for København og Danmark. Opmærksomheden fra udlandet har VisitDenmark udnyttet blandt andet i den internationale pressebearbejdning og som inspiration til de udenlandske turister. VisitDenmark i London har med succes draget nytte af den store britiske begejstring for Forbrydelsen og solgt gode historier om Danmark ind til toneangivende medier. I 2011 rejste eksempelvis journalister fra to af de største britiske medier, The Guardian og Mail on Sunday, til København for at opleve de lokationer, som danskerne og briterne kendte så godt fra tv. Programmet for presseturen blev udarbejdet i samarbejde med Danmarks Radio og Wonderful Copenhagen. De resulterende historier præsenterede København som en cool destination spækket med madoplevelser, cykler, inspirerende arkitektur og et gys. Premiere på New Nordic Noir For at imødekomme den stigende internationale interesse for de succesfulde danske tv-serier, har VisitDenmark oprettet et nyt site, som samler informationer om danske dramaserier og de steder, hvor de blev optaget. Sitet med titlen New Nordic Noir skal give læserne yderligere informationer om tv-serier og give dem mulighed for at komme bagom serierne, se de lokationer, der er blevet brugt, og give dem et udvalg af andre danske tv-serier, som de kan se. Alt sammen inspirerende læsning for tv-serie fans, der forhåbentlig får lyst til at gå i Sarah Lunds fodspor i Danmark. Det nye serie-site skal udvikles, efterhånden som danske serier og film får premiere i udlandet. For tiden er Forbrydelsen, Borgen og Broen at finde på det nye site. Page 55 of 70

56 8.11 Dent et al. (2011) Danmark hvor det sker! Or... Denmark where it's at! With a hit TV show, an Oscar-winning film, the best restaurant in the world and covetable design, now is the time to discover all things Danish The hit TV show Put simply, the hunt for the killer of Nanna Birk Larsen rejigs everything you expect about snoozesome murderymystery TV. Over 20 dimly-lit, subtitled hours, The Killing's plot simmers, startles and slowly unravels, as cops Sarah Lund and Jan Meyer pace Copenhagen's streets. They interview, re-interview, then thrice harangue witnesses, each time gleaning fresh "truths". We observe Nanna's mourners make mental headway with shock, anger, bargaining, depression. Lund's obsession with catching this grim, meticulous murderer, giving closure to Nanna's parents, becomes our obsession, too. I love Lund; she's the sort of better woman I dream to be, shunting her love life, parenting-guilt and planned move to Sweden into the "Emotional crap to deal with" pile as she bids to change Denmark for the greater good. I love her grooming regime: hot water, nicotine replacement gum and an elastic band. I love her nifty skill in zoning out criticism, warnings and mind games, especially from her own nagging mum. Lund challenges the scary, gruff patriarchs of Copenhagen's politics and top-rank police, headbutting the truth until old alibis dissolve, fierce loyalties are disrupted and the most innocent faces give way to guilt. While British cop shows are festooned with screaming and snottering, Lund and Meyer deal aloofly with each triumph. Emotions run high, but rarely show on anybody's face. Each time the credits close, one is left with fewer hard facts and more befuddling questions. In a television age where tweet-along programming is king, The Killing requires good, old-fashioned "phone switched off" and "staring straight ahead" concentration. Oh, the irony. A TV show that no one can tweet about or chat about for fear of "spoilers" is so far one of 2011's biggest hits. The must-see films For a tiny country, Denmark often punches above its weight and that's certainly true for film. Not since Lars von Trier slapped audiences around the face with Breaking The Waves and his subsequent Dogme pranks (who could forget The Idiots, in which a bunch of Copenhagen suburbanites pretended to be mentally disabled?) has Danish cinema been so talked about. Director Susanne Bier scooped this year's Oscar for best foreign language film with In A Better World, a compelling drama about two schoolboys choosing between pacifism and violence, while Janus Metz's war documentary, Page 56 of 70

57 Armadillo, records life at a Danish-British base in Helmand. If there's one thing that unites these two most-hyped exports, it's their determination to scuff up Denmark's reputation as the "nicest" nation in Europe. With a storyline that begins with playground bullying and takes in infidelity, bereavement, evil warlords and revenge, no one could accuse Bier of dodging the Big Issues. Her drama unfolds with a kind of relentless calm huge African skies and flat Danish waters fill the screen even as the emotional screws tighten on the boys and their families. Bier has said the plot was engineered to question the cosy stereotype of her homeland as "an harmonious society" and a "blissful" place to live. Minefields, real and ethical, also run through Metz's nonfiction work, which has shocked Denmark by showing its international "peacekeepers" as brutal killers. Armadillo has been compulsory viewing in that country especially for the government, which has now set up an inquiry into the war crimes it may or may not portray. The hot gastronomy After a long, demanding day of Machiavellian political manoeuvring in episode 12 of The Killing, prospective Copenhagen mayor Troels Hartmann rewards himself with a chill-cabinet pepperoni pizza. But if he really wanted to prove his commitment to his city, he'd be eating New Nordic. The food world's latest crush, the New Nordic culinary movement, was spearheaded by deeply photogenic young Danish chef René Redzepi. His restaurant, Noma, opened in Copenhagen in 2004 and the fact it now holds two Michelin stars and was last year voted into top spot in the San Pellegrino World's 50 Best Restaurants awards indicates he might be getting something right. The philosophy behind his menus is "local, seasonal" of course it is but Redzepi takes a hardcore approach, refusing to cook with anything that doesn't come from his home region. So "nej, tak" to olive oil, garlic, tomatoes and foie gras, but "ja, hvorfor ikke" to largely foraged ingredients such as marsh violets, silver birch sap, bulrushes and, perhaps more challengingly, cod milt (sperm). There's no point in pretending this type of cooking isn't ludicrously ripe for parody, but it's also delicious and kind of thrilling. Over here, fellow Dane Christoffer Hruskova, having started out at his first London restaurant, Fig, is continuing to riff on the New Nordic theme at his second place, North Road, applying Noma's zero-tolerance policy on olive oil and garlic, and its fondness for foraging and ancient cooking techniques (smoking, salting and pickling), to ingredients available in Britain. The classic design Peek through the windows of any Danish home and chances are you'll see one or all of the following classics: Poul Henningsen's flying-saucer PH lamp, a Series 7 chair by Arne Jacobsen, a Bang & Olufsen TV and a set of Georg Jensen Page 57 of 70

58 cutlery. Danes are rightly proud of their rich design heritage, in all its functional, well-crafted, minimalist glory, but the result is that almost every home looks the same. "We're such a small country," says Poul Madsen, chief executive of Normann Copenhagen, a well-known contemporary design company. "If a lamp or chair is even modestly successful, it means most people own it." Such is the influence wielded by these masters, it can be hard for younger designers to find their own style. "These old guys from the 50s and 60s really put Denmark on the map, but designers often feel their weight a bit too much," Madsen says. Those who are most successful, says Peter Bonnén, founder of Muuto, another young design brand, take the functionality and craftmanship of Jacobsen et al and add a 21st-century twist. To get the Danish look, head to Skandium for the classics; Normann Copenhagen and Muuto for new designs; and 95percentdanish.com for everything else. The most-wanted fashion We've had to wait a while for female detective chic to move to the next level, but Sarah Lund's cream-and-black Scandi knit is the unsung star of TV drama The Killing and has, in one perfect knitwear coup de grace, ended the hitherto unassailable dominance of the DCI Jane Tennison skirt-suit and trench look. Sofie Gråbøl, who plays Lund, has said the casting of the jumper is perfect because it shows that her character is at home with herself and isn't in thrall to the-woman-in-a-man's-world idea that forces many wardrobe departments to put female cops in suits. Well, there's that, and there's also the fact that the jumper just rocks. It looks lived-in but not grungy, slightly 70s but not embarrassingly retro, and is perfectly pitched at the Alexa Chung end of the nerdy spectrum. No wonder knitwear specialist Gudrun & Gudrun, which sells the jumper for 280, can barely keep up with demand. If you don't want to shell out on the original (spring is coming, so it's not the wisest moment to overspend on wool), there are still a lot of Fair Isle options on the high street. A man's in XS will give you that Lund look if you can't find the right one on the women's rails. If the classic Scandi knit has given you a taste for the Danish look full stop, the labels to investigate are Day Birger et Mikkelsen for bohemian glamour, Múus by Malou Sander for simple leathers and Rützou for quietly chic dresses. Choose classic stuff Malene Birger does the perfect blue shirt, Rützou has the loveliest simple pocket dress. Like Lund with her jumper, you'll never want to take them off. The gripping read Page 58 of 70

59 Scandinavian crime fiction is no flash in the pan in recent years barely a train in the country has reached its destination without several well-thumbed copies of Swedish bestsellers Henning Mankel or Stieg Larsson on board. Norwegian writer But what true enthusiasts know is that Denmark is where the real action is. While bleak, hypnotic thriller The Killing continues to enthral viewers on BBC4, Jo Nesbø's Oslo-set Harry Hole novels have been racing up the book charts both here and abroad, and this spring we are to be treated to Denmark's top crime writer, Jussi Adler- Olsen. Mercy, the first in his "Department Q" trilogy, has spent more than a year on bestseller lists in both Denmark and Germany, and film rights have been snapped up by trilogy-fan Lars von Trier's production company. Out here in May (Penguin, 6.99), the novel sees troubled detective Carl Mørck setting up a department for unsolved cases. Or, as he sees it, "a home for hopeless cases". His first investigation is into the disappearance of a missing politician, presumed dead, but in fact imprisoned. It features all the hallmarks Scandi-book fans have come to adore complicated politics laced with a frisson of sexual tension, a disenchanted detective and coffee-fuelled crime-solving. But what set apart this recent rash of Danish tales are their credible characters. Where the novels of Patricia Cornwell and TV shows such as CSI almost fetishise gore and material evidence, Mercy and its ilk focus on narrative, motive and a refreshing dollop of social commentary. While never shying away from the gruesome, the Danes are employing an age-old secret ingredient: gripping storytelling. The weekend away Apart from the psychedelic Hotel Fox, Copenhagen's trendiest hotels tend towards cosy rather than self-consciously cool. Try the seaside Skovshoved hotel 20 minutes from the city centre for wooden-floored, plump-pillowed bedrooms and private jetty. Or Nimb, with a Michelin-starred restaurant, "rustic" wine bar and antique-draped bedrooms with open fires and huge bathtubs. Design heads should make for the Radisson Blu Royal, created by Arne Jacobsen in Guests can loll in an Egg or Swan chair in the lobby, perch on a Series 7 chair at the bar, eat with "AJ" cutlery in the 20th-floor restaurant or check into room 606, featuring Jacobsen's original colour scheme, furniture and lighting. For caffeinated gallery- and boutique-hopping, gritty-but-hip Vesterbro is the place, home to record and coffee shop Sort and art, craft and design emporium Designer Zoo. Or head for Copenhagen's shiniest fashion street, Kronprinsensgade. Swim with the locals at one of the pools suspended in the harbour or navigate the city's secret corners by kayak (try have recently launched new Urban Kayak tours that paddle,. offers a tour that paddles through small canals and harbours into Amsterdam-like houseboat villages and counter-culture. Too energetic? Recline on a cushion at Halvandet "beach bar" and enjoy Copenhagen's liquid assets. Page 59 of 70

60 8.12 Anholt (2007) Figure 2.1 in Competitive Identity Page 60 of 70