期刊名称：Aniki: Revista Portuguesa da Imagem em Movimento
电子版ISSN：2183-1750
出版年度：2017
卷号：4
期号：2
页码：471-479
DOI：10.14591/aniki.v4n2.344
出版社：Associação de Investigadores da Imagem em Movimento
其他摘要：A seven-hour train journey from Oslo to Bergen; twenty-four hours
of salmon fishing on the first day of the season; a sixty-hour
marathon of psalm-singing; 134 hours aboard a coastal ferry. “Slow
TV” has emerged as the label for a series of long-duration
programmes showcasing Norway’s landscape and traditions,
conceived in 2009 as an experiment for NRK, the national public
service broadcaster. Most of these shows have attracted over one
million viewers, a fifth of the Norwegian population. In 2013, Slow
TV (or sakte-tv in Norwegian) was declared Word of the Year by the
Norwegian Language Council, and NRK’s international publicity
webpage for the series also adopts this term as its title (NRK 2014).
As a brand, Slow TV is useful as a marketing tool in an era of slow
cinema, slow food, and anglophone fascination with cosy
Scandinavian lifestyle concepts such as hygge (see Thomson 2016).
Focusing on the ostensible slowness of the programmes, however,
tends to elide what is genuinely radical about the series: the long
duration of these televisual events, and the implications of their
length for their design, production, broadcasting, consumption and
reception. Indeed, the interest of the producers in experimenting
with duration as opposed to pace is implicit in the Norwegian name
for the series: Minutt for minutt (minute by minute).
