Abstract
This chapter takes Lars von Trier’s Riget (The Kingdom) as a starting point to discuss how this ground-breaking mini-series legitimised working in television for aspiring filmmakers and how, accordingly, Danmarks Radio deliberately set its sights on working with upcoming talent from the National Film School of Denmark. The chapter analyses the opening of the third season of The Killing as an example of the kind of small-screen visual storytelling that employs a more concentrated ‘cinematic gaze’ than the more casual ‘televisual glance’. The chapter ends by discussing how Danish television drama since the late 2010s is marked by a diversity of players, genres, approaches, and the movement of talent between cinema and television.
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