Jury Coordinators

We were the PRIX EUROPA 2017 Coordinators:

Television Categories

TV Documentary

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Anna Birgersson-Dahlberg

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I have long experience from Swedish public media, both radio and television. During the years I have been working with all kinds of programming, including news, current affairs and investigative journalism as well as documentaries, entertainment and humor shows. Today I am Head of UR International that includes acquisitions and international co-productions. I am vice chairman of the EBU Intercultural and Diversity Group, member of the Prix Europa steering committee, Swedish National Coordinator of Input and vice chairman of the Swedish Radio Academy.

Whom do we trust - and why?

‘In pace with the times changing in ultraspeed, it is more important than ever to be able to trust public media. Who else is there to trust?
But we must earn it. Public media must continue to prove that we stand firm, objective, free and open-minded in order to be relevant to people. In order to make the world a better place.’

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Christine Camdessus

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Christine Camdessus has launched her production company in 2001: ALEGRIA PRODUCTIONS. Among more than 40 creative documentaries, distributed in most of the world: Hammer and Tickle, Pakistan Zindabad, The Lost war of the Vatican?, Five Broken Cameras, by Emad Burnad and Guy Davidi (Sundance director’s price 2012, Oscar Nomination 2013 - International Emmy Award 2013), Divided Korea, The Wonderful Kingdom of Papa Alaev and Erdogan, the making of a sultan.
Christine is a Jury member in NIPKOW (Berlin). She is vice-president of USPA (leading TV producers union in France), member of EDN and of EFA. In 2013, ALEGRIA received the price of best production company of documentaries in France.

Whom do we trust - and why?

‘We trust more easily the ones we know or the ones which we respect the reputation for their honesty and impartiality. The multiplication of sources of information and of news channels is richness but put each of us in a difficult position.
Where is the truth, which truth? Are we facing facts or opinions?
There might not be one truth to a reality, forcing expertise, introducing debate, allowing each of us to have an opinion, accepting that the truth of today might not be the truth of tomorrow.
Freedom of press and freedom expression is more needed than ever but also access to places where events take place and protection of journalists.
Economic, financial or political influences on Medias urge us to protect independent sources including public TV or radio.’

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TV Fiction

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Erna Kettler

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I‘m the Drama Editor at RÚV-The Icelandic State Broadcasting Television in Iceland. I‘ve worked in that capacity since 2008 as well as being in the acquisition team buying foreign drama and documentaries for RÚV‘s main TV-channel. RÚV has been for the past years increasing the output of in-house drama for example the PRIX EUROPA winner in TV Fiction 2016, Trapped was co-produced by RÚV. I‘ve been working in television since 1986 first as a production assistant in news and current affairs, then as a producer and director in news, sports, live OB sport events as well as live entertainments shows broadcasted live. BA in Film&Television – multi camera studio based drama. Member of the International Emmy Academy and been on multible jury panels for the I-Emmys as well as being a jury member at the Reykjavik International Film Festival RIFF and a jury member at the PRIX EUROPA TV Fiction 2016.

Whom do we trust - and why?

‘Trust is something that the whole planet is questioning today for many reason, when we earn someone’s trust we should celebrate that.
Whom to we trust? - the Media, the weather, each other? This is the question that each and everyone of us needs to ask ourselfs every day no matter where on the planet we live. We live in a world of constant change and with globalization our world has become bigger in some respect but at the same time smaller. We’re constantly bombarded with information both in the traditional media as well as on social media, which in some respect makes our prespective tunnel-visioned. That’s why it‘s most important for us that work in the Film & TV industry to have it as a constant Mantra: To tell stories that will inform and enlight people across all the cultures of the planet, always be objective in all our storytelling. Whom do we trust? The only one that you can trust 100% is yourself, be the best version of yourself every single day of our lifes, have respect for all human beings, be truthful in everything you say and everything you do.’

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Thorsten Ritsch

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After studying journalism, I realised that I prefer pure fictional storytelling over writing journalistic texts. So I got myself several almost unpaid internships on different film sets and learned about filmmaking and storytelling hands on. Later, I worked as a junior producer for several production companies and became commissioning editor for German Television ZDF in 2006. Since then I am responsible for developing and producing TV movies and series, e.g. the PRIX EUROPA 2013 winner of Best European TV Fiction Series: ‘Generation War’.

Whom do we trust - and why?

‘As a fiction producer I place my trust in the power of true and emotional story telling. In honest and real characters that not only have the power to entertain our audience but also make them think. Characters and stories that take the viewers to places and into lives that are different from the ones they are living to help them understand and experience other peoples lives and problems. To shape an understanding for the questions and problems our world and our societies are facing today. We can create stories that work toward mutual understanding and tolerance, work towards something good that emotional story telling has the power and the tools for.’

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TV Current Affairs

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Inger Sunde

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Inger Sunde (19 August 1968) is an award winning Norwegian journalist based in Oslo. Through her journalism she has achieved national and international recognition. Her documentaries largely focus on global issues from the financial crisis in Europe (‘Costa del Moll 2012’) to the fear of terror after 9/11 (‘Armed for Peace 2001’). In 2010 she won the International Reporter Prize as well as becoming ‘Journalist of the year’ in the biggest broadcaster in Norway, NRK. She won these prizes for the investigative documentary series ‘Connecting People’, on how cell phones are produced. From exploited workers in the mineral mines in Congo, to underpaid factory workers in China producing to how the cell phones end as polluting e-waste in the city of Guiyu in China. Two years later she made the documentary, ‘Masters and Servants’, on how au pairs are treated in Norwegian homes. This film created a big debate in Norway and managed to change Norwegian law to give better legal protection for the au pairs. Inger Sunde got the International Reporter honorary award for this film as well as being nominated for the European TV contest ‘Prix Europa’ and the Norwegian TV-award ‘Gullruten’.

In October 2015 she won the European Prix Europa contest for her investigative documentary “A Nobel Cause” :

Whom do we trust - and why?

‘In a time with a lot of changes in Europe, a free press is more important than ever. Unfortunately history has taught us that democracy can be hard to establish, but easy to tear down. We see changes in Europe today that challenge the basic elements in a democracy: a free press.
Last year one of the stories from the Panama Papers, won PRIX EUROPA Current Affairs. A good example of successful and important cross border journalism.
Once again some of the best journalists in Europe will meet in Berlin, to show their work and get new friends and connections. There will be one winner, but the benefit of getting to know colleagues all over Europe is just as important. Together we can continue revealing the truth and build a great climate for investigative journalism in Europe.’

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TV IRIS

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Elonka Soros

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Elonka Soros is a diversity and inclusion specialist working in the broadcast media and associated creative industries. She is a former BBC journalist and programme maker.
She left the BBC in 2016 having spent two years working in the Director General’s office developing and delivering an innovative corporation-wide Diversity Action Plan. She is an honorary member of the EBU Intercultural & Diversity Group and developed the Unconscious Bias Project Europe in collaboration with colleagues from Denmark and The Netherlands. Elonka is currently engaged in projects where her expertise in the portrayal and media participation of minority communities are helping to improve audience impact with hard to reach groups and service users.

Whom do we trust - and why?

‘The concept of fake news is nothing new. It’s the reason I started in journalism more than twenty years ago. As a British born woman of dual heritage (Bajan and Hungarian), I grew up watching TV and listening to radio that didn’t bear much resemblance to the world I lived in and I wanted to change that. With the broadcasting industry lacking in diversity, programmes too often portray a world that is mostly white, dominated by men, relying on stereotype; with women as sex objects, the villains ‘foreign’. As a journalist, I challenge myself and my colleagues with the following question. If audiences can’t trust us to accurately portray their ordinary lives in our dramas, entertainment shows and documentaries, how can they trust what we say in the news about politics, economics or science? When we produce content that doesn’t reflect the world as it is, we create the space for those who are hostile to the ethos of public service media to call ‘fake news’ if they don’t like what we broadcast. Our ‘fake news’ chickens coming home to roost. Across Europe and beyond people are hungry for reliable information to help them make good decisions affecting their lives. The key to winning trust and audiences lies in getting diversity right – off air in teams and on air in programmes - to make content that looks and sounds like the real world, content that we can all believe in.’

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Erik Hogenboom

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Erik Hogenboom is editor in chief at the Diversity Department of Dutch public broadcaster NTR. He coordinates several documentary series and magazines focusing on diversity themes in the Dutch multicultural society.
Since 2001 he is executive producer for the Intercultural and Diversity Group (EBU), coordinating co-productions (f.e. City Folk). From 1999 till now he is coordinator of the Prix Europa IRIS, the European media award to stimulate programme makers to devote their attention to the ethnic diversity aspect of societies.
Before his work as editor in chief at NTR, Erik worked for many years as a (freelance) journalist and director of radio and TV-programmes for several Dutch public broadcasters.

Whom do we trust - and why?

‘Trust is probably the most fundamental element for a well-functioning viable democracy. People do not easy trust other people who are different in ethnic background or religion. If the increase of diversity in societies is too fast and uncontrolled, as we experience nowadays in Europe, the necessary basic trust for society comes under big pressure. The media have a high responsibility to show and analyze this phenomenon in documentaries, fiction films, current affairs reports, in order to find solutions. This is why TV IRIS, bringing together media productions, that deal with all the good and bad consequences of diversity, is indispensable at PRIX EUROPA.’

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Radio Categories

Radio Documentary

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Liam O’Brien

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Liam O’Brien has been working with RTÉ Radio since 2000 and has been head of the documentary strand in RTÉ Radio 1, the Documentary On One, since 2008. Since then, the unit has won over 220 national and international awards including four PRIX EUROPA awards in both the radio documentary (2009, 2010, 2013) and radio current affairs (2016) categories, all of which Liam was involved in the production of. In addition to it’s primary platform on FM, the Documentary On One is one of the top podcasts in Ireland and has built a large online following. Liam previously co-ordinated the radio documentary category at PRIX EUROPA in 2010 and 2011 – and is delighted to return in that capacity once again.

Whom do we trust - and why?

‘Trust in public media is now more important than ever. Whilst social media has allowed the world to develop its voice, knowing who to trust and why to trust is becoming an increasingly difficult aspect for audiences. More than ever, Public media organisations need to earn, gain and keep trust with its audience. One false move and a house of cards can come tumbling down. Above all, we should trust ourselves and our audiences, and it’s the test of both of these at PRIX EUROPA that separates the chaff from the wheat.’

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Robert Barkman

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Robert Barkman has been working at the Documentary Department at the Swedish Radio for about 10 years. First as a freelancer, but since 2010 as a producer and executive producer for P1 Dokumentär, and later also, P3 Dokumentär – the most downloaded pod in Sweden. Back in 2007 he was here in Berlin, competing with his first ever documentary. Since then he has produced several productions that has won major national and international prizes – for example the Prix Italia and PRIX EUROPE. Over the years he has returned to PRIX EUROPE several times and really enjoys the atmosphere and the discussions between colleagues. This year, he is very happy to co-ordinate the radio documentary category.

Whom do we trust - and why?

‘We live in a polarized and fake news-era. It is therefor a great need for well researched and thorough journalism. It is possibly more vital than ever to tell stories that can reveal and at the same time make us understand the society we are living in. And here the genre of the documentary – with it’s possibility to be personal, yet show nuances and add depth to a story – is key to gain trust of the audience. With that said, we also need to be ever more critical towards the images and perspectives we are presenting. The discussions at PRIX EUROPE will possibly, hopefully, guide and enrich us on this mission.’

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Radio Fiction

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Kevin Brew

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I’m a radio producer working at RTÉ Radio 1, Dublin, Ireland. I make radio drama, documentaries and arts programmes, and I joined my colleagues at RTÉ Drama On One in 2009. I always carry the influence of the PRIX EUROPA with me – and I look forward to listening to the best radio fictions of the year at the Haus des Rundfunks.

Whom do we trust - and why?

‘This is my third time as a PRIX EUROPA Coordinator and I’m delighted to be here again. In this era of frightening reversals and humanitarian crises; of fake news and fake leadership, PRIX EUROPA is a beacon to programme makers – calling on us to speak up for justice and equality through broadcasting.’

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Dmitry Nikolaev

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Since 1993 I work as a Radio Drama director. My background is theatre and I direct stage productions and TV movies as well as sound art performances. I had the pleasure to make plays for different radios in various countries. My regular programme ‘Metaphysics of Sound’ invited listeners into the amazing Ars Acustica world. And I really love to work together with cool young directors and actors in my practical radio courses at the theatre academy GITIS. In January this year, Radio Russia axed Radio Drama and Ars Acustica programs. So now I work as a freelancer in various fields. In September I made ‘a site specific immersive Sound Stream’ for Alanica Contemporary Art festival in Vladikavkaz. Before Prix Europa I worked for three weeks as a teacher of Method & Michael Chekhov system acting in Toronto.

Whom do we trust - and why?

‘White men asked aborigines in Australia about the name of an animal. They said, ‘Kan ga roo’ that was ‘we do not understand’. White men thought it was a name of the beast. We still trust it is. We believe in our own perception and we trust those who see the world from ‘our cave’. (Francis Bacon called it ‘Idol of the Den’) Later white men slaughtered millions of aborigines in order to take their land. Murderers trusted in God and Empire, in high moral and civilization. We trust those who protect and realize our interest. (Karl Marx). The same cave and the material interest is the foundation of our trust in the social and personal life, politics, sales and marketing, journalism… ’

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Radio Current Affairs

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Hugh Levinson

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I am head of the Radio Current Affairs department for the BBC, based in London and Salford. I began my career in local radio in Liverpool, spent three years at a newspaper in Tokyo before returning to the BBC, working in daily radio journalism then moving to current affairs. I fell in love with radio documentaries and have stayed in this department pretty much ever since – presenting, producing and editing long-form radio. I currently edit the Analysis series and the Reith Lectures, working with among others Stephen Hawking and Hilary Mantel. We also make online text and video and produce some of the UK’s most popular podcasts.

Whom do we trust - and why?

‘Journalism – and indeed the truth – are under threat. Many people don’t seem to care much about the truth. Others seem actively opposed to it. I do care. I believe the media have a crucial role to play as points of reference in a world swirling with rumour, gossip and smear. This role goes beyond presenting a range of opinion and requires penetrating and thoughtful analysis of the state of things. It means that expertise matters. It requires transparency and it doesn’t avoid controversy. It means hearing about lives that are different to our own. It involves understanding why others may think differently to ourselves. It means challenging the audience’s assumptions while seducing them into finding out more than they expected. It means challenging ourselves.’

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Radio Music

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Carsten Dufner

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Carsten Dufner is a Journalist, producer and music manager. He is Head of MDR Klassik digital at Mitteldeutscher Rundfunk (ARD/MDR). Studies in Musicology, History of Arts, Theatre, TV and Film in Cologne (Germany). Journalistic Traineeship at Süddeutscher Rundfunk (SDR) in Stuttgart. Freelance Journalist for Deutschlandfunk in Cologne from 1986 to 1990. 90 - 97 executive producer of the Stuttgart Radio Symphony. 97-98 executive producer of Multimedia activities at SDR, 98-99 deputy head of Multimedia department at Südwestrundfunk in Baden-Baden. 1999 – 2008 head of music at Hessischer Rundfunk in Frankfurt. 2008 to 2016 head of music and production of MDR’s music ensembles. Since 2016 responsible for MDR Klassik (digital radio program, streaming, webservice, social media). Carsten Dufner has been working with the EBU for 27 years now.

Whom do we trust - and why?

‘Digitalization is the third big revolution of modern human life in history. Digitalization changes everything. It makes our life easier, but makes it – at the same time – also less real. We can stage our life, invent our own reality, live in bubbles in which we experience what we expect to be the truth. It was never so easy to manipulate pictures, movies, soundfiles, even replacing opinions of human beings by (ro-)bots. The better the manipulation, the more we should find out who to trust. Today’s Journalists should know the techniques of manipulation and how to deal with them. And they must – more than ever – build networks of trustful sources, verifying them regularly, being also themselves a part of the ones to trust. That’s really hard work. But it is worth it.’

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Digital Audio

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Robert Ketteridge

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I am Head of Arts, Documentaries and Drama for BBC Radio & Music Production and genre leader for radio documentaries. I grew up in Manchester, studied English at university and joined the BBC as a trainee in local radio news. I worked for several years as a producer of arts programmes and documentaries and in 2003 become Editor of the Documentaries Unit, looking after a wide range of programmes including series with the British Museum such as A History of the World in 100 Objects and Germany: Memories of a Nation. Today my responsibilities continue to include documentaries and arts and I also help to manage the radio drama teams in London and Birmingham.

Whom do we trust - and why?

‘It’s in the digital arena that the question of trust is at its most acute and this underlines the importance of digital innovation in public service media to keep up with audience behaviour and lead on new forms of digital content. And successful innovation is what the Digital Audio category aims to recognise, whether it’s in new podcasts, platforms or projects with audio at their heart.’

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Online Category

Online Category

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Kåre Vedding Poulsen

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Kåre Vedding Poulsen is Excecutive producer at Danish Broadcasting Corporation. I have been working with cross platform/interactive projects for more than a decade. He is curator and moderator of the Nordvision Festival of Digital Narratives. He has an MA in Literature and Film, and also Excecutive MBA from Copenhagen Business School. Currently studying script writing at Southern Danish University.

Whom do we trust - and why?

‘The Internet is all over us, and accordingly as public broadcasters we take on new roles. Managing digital skills and competencies is essential for us as we remain amongst the few 1000 percent independent, relevant and trustworthy media out there amongst all the digital noise. At PRIX EUROPA Online we always want to honour those who stand out by creating the weirdest, coolest, bravest, most beautiful and successful PS media use of digital - in all possible and impossible ways. We love to be amazed.’

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Silvia Costeloe

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Silvia Costeloe, Senior Broadcast Journalist for BBC World News.

I started working for the BBC in TV, on consumer show Watchdog. After a couple of years, I moved into Online, just as the internet was becoming web 2.0. I became Senior Producer for BBC Blast, perhaps the BBC’s first and last social network.
For the past ten years I’ve been working for BBC News, producing core Twitter feeds such as @BBCBreaking, working in the UGC hub, gathering content and images on breaking news stories, sourcing UGC and producing shorts for Bafta-winning documentary Our War and providing training on social media via the BBC’s College of Journalism. More recently I’ve worked in R&D to develop webstreaming strategies for BBC News.

Whom do we trust - and why?

‘The Prix Europa is a space where the best of long form journalism, documentary and multimedia projects are discussed - at length - and judged within a multicultural environment, and against the highest of standards. At a time when news cycles are breathlessly fast and the digital revolution has lifted a fog over assumed realities, nothing can be taken for granted, or trusted, without scrutiny. Prix Europa empowers participants to scrutinise, criticise and, indeed, trust productions that deserve just that.’

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