Slow TV has become a familiar feature of broadcasting in Norway. It refers to a set of programmes produced by the Norwegian Broadcasting Corporation (NRK) since 2009, starting out with a seven-hour broadcasting of the train ride between Bergen and Oslo.
The concept of slow TV and 'minute-by-minute' broadcasting was developed so that the event on television lasts as long as in real time. Several broadcasters outside Norway, including BBC Four, YLE, SRF and Netflix, have now taken up the concept of slow TV.
The first study of this genre, this highly original book explores three different aspects of the phenomenon of slow TV: the perspective of the broadcaster, the perspective of the producers and other actors involved in the production of the programme, and that of the audience.
It goes beyond the question of genre and considers how slow TV fits into television scheduling and how the audience appeal can be understood within broader concepts such as media events, media tourism, reception and national identity. Public service broadcasters can be seen as having more opportunity to experiment, and slow TV can be seen as a good example of public service programming. What attracts viewers to the programmes is that they invite a contemplative mode of watching: there is a chance to see something unexpected, or to be introduced to interesting new things.
Illustrated throughout in full colour, using stills from broadcast programmes.
This book will appeal primarily to an academic readership, both researchers and students. Most readers are likely to be involved with media and communication studies, cultural studies and film studies. It will also be of interest more generally to the humanities and social sciences fields as it touches on topics such as national and local identity, popular culture, Nordic lifestyle, well-being, tradition, community and popular culture.
"'One of the strengths of the book is the way perspectives on greater topics, such as the dualism of nature and culture, national identity, the concept of time, are combined with close analyses of the experience of liveness and the practical and aesthetic choices behind the productions, right down to the choice of cameras and other equipment. While three programmes are studied in detail, the book
Anne Gjelsvik, Critical Studies in Television
"'[The book] offers theoretical and applied guidance for students interested in public broadcasting, with useful and interesting data from all three sides of the media industry/text/audience triangle. Additionally, this book can be an inspiring jumping off point for scholars who are interested in the burgeoning topics of sustainable TV (which Puijk has also published on) or in pushing forward the
