The European television industry at the turn of the XXI century. (EUROFICTION fifth report, year 2000: European Audiovisual Observatory, Strasbourg 2001) (original) (raw)
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This thesis argues that in order to understand the changes that have occurred in the television industry and television spectatorship since the mid-1990s, it is important to look at the transitions which have occurred in three key areas: 'textual production', 'reception and response', and 'economics'. Textual production refers to the various industrial structures which surround the creation of a text and impact its content; reception and response refers to the ways in which an audience receives their television content, and the methods by which they communicate about it with each other and with content creators; and lastly, economics refers to the variety of financial, commercial, and regulatory structures that surround the production, distribution and reception of the television text. By providing historical context in order to contrast and highlight the shifts in these key areas, as well as the technological environment in which they occur, a holistic understanding of the period can be gained, through the framework of a circuit model. This thesis argues that the changes that occurred during this period in the primary nodes of textual production, reception and response, and economics are interrelated, and could not have occurred independently of each other.
Editorial: TV Formats - History, Theory, Industry and Audiences
Critical Studies in Television, 2013
highlighted the rising significance of 'geocultural markets'. The TV format business raises again the question of transformations in the patterns and flows of the programming trade. As Paul Torre has aptly noted, 'new players, new markets, and new dynamics are combining to reformat global media economics'. 8 Moreover, an additional aspect now demands attention: adaptations' local-global texture. TV formats are sold in the form of a 'production bible', spawning numerous local productions-three on average, but in a growing number of cases over twenty, forty or even more different local versions. The ways in which and the extent to which these productions differ from one another; 10 how 'the local' finds expression; 11 how the socio-cultural, political and industrial contexts impact on formats and vice versa; 12 and how to evaluate adaptations 13 are all issues that have attracted scholarly interest in recent years. 14
The New Frontiers of Television - Introduction
Prace Kulturoznawcze, 2020
Television content plays a vital role not only in the entertainment milieu, but also in society as a whole. American scripted shows in particular have recently claimed an unprecedented cultural significance. They are also now more abundant than ever before, due to the so-called Peak TV trend, which — before the COVID-19 outbreak — had shown no signs of slowing down: in 2019, American networks and portals aired 532 scripted shows! The coronavirus pandemic will almost certainly affect this rapid expansion, but the fact that — at the moment of writing this article — numerous hit series have resumed production9 is a testimony to the industry’s resilience. This issue of Prace Kulturoznawcze therefore aims to add relevant voices to the discussion of new developments in the field of television. One of the eponymous “new frontiers” for TV is the afore-described internet delivery of content — and all of the six articles included in the issue deal, to a lesser or greater extent, with shows delivered through these new channels of distribution. The most prominent common thread for the texts included in this volume, however, are the new frontiers of representation.
New Patterns in Global Television Formats
2016
The past twenty years have seen major changes in the ways that television formats and programming are developed and replicated internationally for different markets—with locally focused repackagings of hit reality shows leading the way. But in a sense, that’s not new: TV formats have been being exported for decades, with the approach and methods changing along with changes in broadcast technology, markets, government involvement, and audience interest. This book brings together scholars of TV formats from around the world to analyze and discuss those changes and offer an up-to-the-minute analysis of the current state of TV formats and their use and adaptation worldwide.
Television formats: primetime staple, global market, Popular Communication, 8:4, 273-292.
Popular Communication: The International Journal of Media and Culture, 2010
The last decade has witnessed the growth of TV formats such as Big Brother or The X Factor, developed in one market and sold internationally for local adaptation. This article reveals the scale and significance formatted television content has attained, drawing on a case study analysis of US schedules from the 2007–2008 broadcast season. The high share of formatted programming found in primetime schedules (an average of 33% of broadcast hours) becomes understandable in light of the context and the advantages formats have for broadcasters and producers. The findings suggest that the franchising of content, both expression and outcome of television's commercial saturation, will continue to play a crucial role in TV schedules around the world. This franchising will contribute to the convergence of television globally, not just structurally but also in terms of concrete, albeit locally modified, content.
Television & New Media, 2008
Internationalization is a key to the success of television formats. In order to understand format trade it is necessary to draw out distinctions between formats and genre. Engines-innovations in programming engineered by format devisors-allow formats to regenerate and hybridize across genres. The core principle of formats, however, is the practice of franchising. Causal relations can be established between formats, engines and the tradability of television culture. The article shows how formats have impacted upon platforms, markets, labor, audiences and distribution of TV content.
The Political Legacy of Entertainment TV Online Appendix ∗
2019
∗We thank Alberto Alesina, Filipe Campante, Antonio Ciccone, Stefano DellaVigna, Ruben Enikolopov, Ray Fisman, Greg Huber, Brian Knight, Valentino Larcinese, Marco Manacorda, Torsten Persson, Barbara Petrongolo, Andrei Shleifer, Francesco Sobbrio, Joachim Voth, David Weil, Katia Zhuravskaya, four anonymous referees, and seminar participants at Bocconi, CREI, NYU, MIT, Sciences Po, Brown, Dartmouth, Sorbonne, WZB, Surrey, Queen Mary, Yale, EIEF, LSE, Namur, Bank of Italy, Warwick, UPF, and participants at the AEA Meetings, the EUI Conference on Communications and Media Markets, and the Lisbon Meeting on Institutions and Political Economy for helpful comments. We are very grateful to Ben Olken and Ruben Enikolopov for their help with the ITM software. We thank Nicola D’Amelio and Giuseppe Piraino for their assistance with data collection, Giovanni Sciacovelli for excellent research assistance, and Laura Litvine for her outstanding help with the digitization of the transmitters data. R...
Event Media: Television Production Crossing Media Boundaries
2009
“Event media” are media companies that produce events in order to serve their own purposes, whether these are commercial, public-service oriented, or both. For the television industry, creating big program events with a strong sense of unfolding here and now has become increasingly important – and this thesis asks why and how. It thereby examines a broad program trend, which reality-tv entertainment is a marked exponent of with programs like Big brother and Idols, but which also is represented in more educational and informative programs like Test your vote and Great X. These programs bring three industry shifts to the fore. First, their production is crossing the borders between nations, industry sectors and companies. Second, they fuel the transition of broadcasters into full-fledged media houses. Third, they turn audiences into participants on a large scale. The evolving practices on these areas are keys to the future of television, both in industrial and public life terms.
European Journal of Communication, 2009
The rise of digital media has generally been accompanied by audience fragmentation, but the trend of reality-TV has helped television enterprises around the world retain their audience’s attention. One obvious reason for this is reality-TV’s increased social interaction with the audience. Also important, however, are the rapidly evolving interactions between media sectors, companies and departments on the production side of reality-TV. This article studies these interactions, demonstrating that the reality TV phenomenon in fact does not promote the status quo in commercial television but gradually reinvents its value chains in digital environments. Spectacular events and live content are more essential than ever for extending audience reach and developing new revenues. The article relates their production to developments in television tabloidization and commodification through a case analysis of the production of Idols in Norway