Transnational Screen Culture in Scandinavia: Mediating Regional Space and Identity in the Øresund Region

business sense, while orbiting around the likes of Netflix and ‘other American transnational media corporations’ (120). It could be argued that Ribke’s work resonates with developments explored in a growing body of literature found in yearbooks of the Ibero-American Observatory of Television Fiction OBITEL, in Straubhaar et.al.’ From Telenovelas to Netflix: Transnational, Transverse Television in Latin America (Straubhaar et al. 2021), Dávila and Rivero’s Contemporary Latina/o Media: Production, Circulation, Politics (Dávila and Rivero 2014), and the take on ‘peripheral visions’ offered by Sinclair, Jacka, and Cunningham in 1996. The book’s contribution stems mostly from the granularity of its case studies, which build on the theoretical framework that has been firmly captured in works such as Jean Chalaby’s Transnational Television Worldwide: Towards a New Media Order (Chalaby 2005), Joseph Sraubhaar’s World Television: From Global to Local (Straubhaar 2007), and Daya Thussu’s Media on the Move: Global Flow and Contra-Flow (Thussu 2007).