European television Research Papers - Academia.edu (original) (raw)

Pay fiction experienced a production boom in Europe between 2008 and 2017. The output of original productions in Europe’s five main markets (France, Italy, Germany, Spain, and the UK) leapt from 8 series in 2008 to 47 in 2017 – a rise of +490% (as shown in the previous chapter). This growth is based on a change in the national production paradigms, which are increasingly modelled on “quality TV” from the US (Thompson 1997). Unsurprisingly, most of the titles travel very well across borders, both within and outside Europe. These series are much more export-friendly than what the national public and private (free) TV producers traditionally used to produce (Scaglioni and Barra 2013).
This renaissance of sorts in European scripted pay TV production is also bound up with major changes in the industry that affect how European fic- tion productions begin to circulate. Besides pay TV growth in all the main markets studied, it is also about the arrival of the global SVOD giants based in the US (Netflix and Amazon Prime Video), the explosion of European OTT platforms, and the ever-greater take-up of streaming technology by the more traditional networks (Lobato 2019). All these factors have led to both a certain uniformity in productions across Europe and an increased transnational circulation of these products. This chapter maps out the de- velopment of the transnational circulation of European series in the five sample countries from two distinct yet complementary standpoints. First, we explore the circulation of pay fiction in Europe from an export perspec- tive; second, we focus on how those countries have gone about importing European scripted pay fiction in this context

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- Media Studies, Media Industries, TV studies, Television Production
- by Karen Arriaza Ibarra
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- Television Studies, European television

This chapter shows how from the 1960s to the 1980s children’s television made by or acquired for British channels integrated national, European and transatlantic programme forms, personnel and business relationships. American television’s production methods, personnel, and attitudes to the audience have been both adopted and resisted in British television culture. In Gerry Anderson’s science fiction series, US television was a model for British production practices, and programmes worked on a new sense of transnational community in futuristic settings. These strategies led to relatively successful attempts to sell British programming to US broadcasters in the 1960s. The boundaries between Britishness and Americanness shifted in dynamic ways, in relation to production, representation and reception. Imported US children’s programmes in Britain have often been criticized on the grounds of quality, but Anderson’s series were praised for their ability to reconfigure conventional action-adventure programme formats associated with the USA and sell those narrative forms back across the Atlantic. In another example discussed here, children’s programmes from continental Europe were comparatively cheap to acquire, professionally produced, and re-voicing in English enabled them to be assimilated into British television schedules. The strength of the US domestic television industry has been the foundation of its success in exporting children’s television as well as programmes for adult audiences, but the tendency to conflate American cultural exports with changes in popular culture in other nations is misleading. British and other European producers of children’s television, and their programmes, played a considerable part in the processes of modernization and transnationalization that can also been seen in other cultural sectors such as the arts, fashion or architecture.

A report commissioned by the European Commission. Submitted December 2020, published in July 2021.

- by Christopher Meir
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- Media Studies, Film Studies, European Cinema, Television Studies

Die Einleitung führt in den Sammelband und dessen Gegenstand, das Teen TV, ein. Jenes Fernsehen lässt sich zunächst über das Sujet der Jugend bestimmen, die in individualisierten und ausdifferenzierten Gesellschaften sehr unterschiedliche Ausprägungen kennt. Fiktionale Jugendserien, die im besonderen Fokus der Publikation stehen, bilden verschiedene Facetten von Jugend nicht nur ab, sondern formen diese als Teil einer kommerziellen Teenagerkultur mit. Teen TV verweist in diesen Zusammenhang zugleich auf ein Publikumssegment, das die Fernsehindustrie gezielt adressiert. Neben anvisierten sind es tatsächliche Zuschauer*innen, über die sich das Teen TV definieren lässt. Nach der Begriffsbestimmung wird das Teen TV als Genre diskutiert. Bei aller Hybridität ist ihm gemein, dass es Entwicklungsherausforderungen und Identitätssuchen in der Adoleszenz aushandelt und dabei ein hohes Maß an Selbstreferenzialität aufweist. Immer wieder rekurriert das Teen TV auf seine Kulturgeschichte(n), die die Einleitung vor allem im US-amerikanischen Kontext beschreibt. Außerdem finden entsprechende Ansätze in der deutschen Fernsehfiktion Beachtung. Abschließend werden gegenwärtige und transnationale Tendenzen des Teen TV erkundet.

- by Florian Krauß
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- Television Studies, Youth Media, Television series, Teenpics and Teen TV

Continental European animated programmes for children were adapted for British television in the 1970s and early 1980s, and this paper discusses some of them to raise a series of historiographic and theoretical issues about programme... more

- by Jonathan Bignell
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- Animation, British television history, Children's Media, Cult television
- by Jerome Bourdon
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- Television Studies, Television genres, Television History, Television Formats

in: Screening European Heritage: Creating and Consuming History on Film, eds. Paul Cooke and Rob Stone (London: Palgrave Macmillan, 2016), 25-44. The chapter examines how Europe's increasingly integrated, transnational television industry nonetheless re-establishes restricted notions of national and regional heritage at the heart of the continent's pan-European initiatives.

- by Jaap Verheul
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- Film Studies, European Cinema, Television Studies, British television history

Producers are seldom the focus of screen studies research, but this interview with Danish producer Meta Louise Foldager demonstrates just how useful these vital creators are to understanding the Scandinavian film and television industries, both of which currently find themselves in periods of rapid change. The interview focuses on three themes: the differing roles that the producer plays in film and television production; the state of the Danish film industry; and the burgeoning television drama industry in Denmark. Throughout these three sections, Foldager discusses how local and global forces are influencing her work and that of her colleagues in both industries.

- by Christopher Meir
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- Film Studies, European Cinema, Media Industries, Film Industries
- by Jerome Bourdon
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- European integration, Television Policy, European culture, Television History
- by Jerome Bourdon
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- Journalism, Television Journalism, Television History, News
- by Giada Da Ros
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- Artificial Intelligence, Television Studies, Television Criticism, Robots

The circulation of scripted television shows across countries and markets has diversified due to the proliferation of channels
and forms of consumption and access. Despite ubiquity and universal access, open linear TV remains the dominant
medium in the major European markets. TV consumption is shifting and the process coincides with the rise of the scripted
television series which started in the United States but has spread to other international markets, particularly in Europe. In
this research, scripted television flows are observed in five major European markets: France, Germany, Italy, Spain, and the
United Kingdom. It is discussed how the changing environment affects the scripted television scheduling strategies. Content
of 26 general interest channels are analyzed.

- by Matilde Delgado and +1
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- Television Studies, Fiction, European television, Television Scheduling Design
- by Jerome Bourdon
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- Television genres, Americanization, Television History, Television Formats

The main objective of this research focuses on the interaction between the traditional television industry with its social audience through Twitter. For this purpose, we present a content analysis of the official Twitter accounts from the programmes with the highest audience belonging to 26 open general-interest channels in the five largest European markets (Germany, Italy, UK, France and Spain). Tweets published in the official accounts of the TV programs that make our sample were collected through API access and specific software. The specific objectives of the study involve the knowledge of the forms, social tv activation strategies, content and typologies of the publications in the accounts of these programmes belonging to the three main pillars of television schedules (fiction, info-show and information) and also in the divergences and similarities that exist between the general-interest channels depending on the country, the ownership and the genre. From our results, we conclu...

- by Emilio Prado
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- Political Science, Twitter, European television

Research on Finnish television history has so far emphasized Western influences. However, the Finnish television environment was also shaped in many ways by contacts with socialist television cultures. This article analyses the first volume of the television magazine Katso to trace the various transnational relations, which shaped the early Finnish television environment and to discuss the cultural meanings of socialist television in this environment. Nearly every issue of Katso in 1960 discusses television in a transnational context. Transnational themes fall into four categories: (1) learning about television in other countries; (2) the Eurovision and Nordvision networks; (3) watching television across national borders (Swedish and Tallinn television but also television across surprising distances); and (4) visions of world television. Katso’s understanding of television emphasizes the literal meaning of television: to see far. The magazine sets no clear limits to what television could do in terms of overcoming physical distance and ideological borders. The magazine avoids overt politics in discussing television from both the West and the East and represents television broadcasting from Tallinn as a potential source of popular television for Finnish audiences.

- by Mari Pajala
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- Television History, Transnationality, European television, Finnish Television
- by Olof Hedling
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- Film Studies, European television

This issue analyzes the gradual spread of various models of commercial TV throughout the decades in different nations across Europe. A process that “moves at different speeds” in the different countries and nonetheless has similar powerful outcomes, enlarging the TV market and opening it up to both local and global influences, ranging from programming to acquisition, from scheduling to the means of advertising, and from freedom of speech and representation to a possible impoverishment of public debate as a consequence of this larger “mediatization”.

- by Luca Barra and +1
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- Television Studies, European television

The rapid uptake of mobile technology worldwide (see Kemp 2020) has led to an unprece- dented number of households owning and using a multitude of screen devices, both conven- tional (radio, television) and new (laptops, smartphones or tablets) to access media content. Being brought up in a media saturated society, children too have become accustomed to using multiple screens for a numerous activites, at home and at school. While it is true that some television programmes are still preferred by children, it also true that children's viewing habits are increasingly changing, with children largely watching and accessing media content on mobile devices (Ofcom 2019). As children’s media and viewing practices are changing, a burgeoning interest in understanding the practice of producing content that reaches younger audiences has emerged.

- by Dr. Bianca Fox
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- Television Studies, Children's Media, Children and Media, European television

Abstract Technological convergence has affected the media context of generalist television, modifying access and the consumption of content. The design of the scheduling of the general-interest linear television is a key element in understanding the policies that the operators follow when offering genres and formats, and in observing the similarities and differences between public and private ownership. This article analyses the television schedules of 25 generalist channels, public and commercial, operating in Germany, Spain, France, Italy and the United Kingdom. Some of the findings of this investigation show a) little diversity of genres, b) that the editorial policy of public broadcasters clearly differentiates them from private ones by prioritizing informational offerings, national fiction, and documentary info-shows, and c) strategic differences of genres by ownership in each country.

- by Matilde Delgado and +1
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- Scheduling, Television genres, Public Service Television, European television

The television industry provides us with a priviledged perspective from which we can verify the theory of historical ebbs and flows, by virtue of the cyclical tendencies which characterise many phenomena related to programming and consumption of the one or the other content typology. 2000, a higly symbolic year because it marked a transition from the old to the new millenium, is legitimately part of this cyclical, or pendular, state of affairs. It was actually a year in which the pendulum swung sharply in the direction of entertainment programmes, reality and game shows, as had already happened in the past, and in particular at the beginning of the nineties. Instead of (or prior to) programmes, in truth, we should be speaking of formats. There is no doubt that during 2000 the phenomenon which struck the television industry most impressively was what has come to be known as " format fever ". It was powerfully supported by the triumphal march of Big Brother across Europe and the prodigious upsurge of vanishing ratings experienced after many years by the American networks, thanks to Who wants to be a millionaire? (ABC) and Survivor (CBS): forerunners of a longer European format caravan that still winds its way across the ocean, creating (but not for the first time) a two-way circulation of international television flows. It is probable, and even fairly predictable, given that the television industry proceeds by ebbs and flows, that the overwhelming surge of new entertainment formulae is destined to fall off in a more or less near future; the second editions of the same programmes are proving to be less exciting than the first. However, it is just as likely that the after-effects and drift might continue over time, since television is facing uncertain economic prospects, and the great competitive advantage of reality and game shows resides in their much more contained production costs when compared to scripted shows like fiction.

- by Milly Buonanno
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- European Studies, Television Studies, Media Industries, European television

El objetivo principal de esta investigación se centra en la interacción de la industria televisiva en abierto con su audiencia social a través de Twitter. Con este propósito, presentamos los resultados del análisis de contenido de las cuentas oficiales de los programas de mayor audiencia de un total de 26 canales generalistas en abierto en los cinco mayores mercados europeos (Alemania, Italia, UK, Francia y España). Los tuits publicados en las cuentas de dichos programas televisivos han sido recopilados a través del API y software específico. Los objetivos del estudio se concretan en el conocimiento de las formas, contenido, estrategias de activación de la audiencia social y tipologías de las publicaciones en las cuentas de estos programas pertenecientes a los tres principales pilares de la programación televisiva (ficción, info-show e información) y también en las divergencias y similitudes que existen entre las televisiones generalistas en función del país, la titularidad de las c...

- by Emili Prado
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- Political Science, Twitter, Europe, Europa

Perspectives on Russian television focus mainly on state controlled networks. Russia, however, also has several important commercial televisions stations to whom little attention has been given. The most important of these stations is the entertainment network STS. The station was founded in 1996 when a subscription station AMTV merged with Saint Petersburg based broadcaster Channel Six and several regional stations to form Russia's fifth national broadcaster. After airing primarily Hollywood and Latin American series in the 1990s, the station began to produce Russian language series in 2003. Today the station is one of the most important entertainment brands in the former Soviet Union. This paper traces the history of STS and its importance in bringing new genres and production techniques to Russia. It also maps the network's explosive growth in the 2000s and its relationship with major Hollywood studios, most notably Sony. The influence of the station's two most important executives Alexander Rodanyansky and Vyacheslav Murugov is also examined. The paper then theorizes on what STS' current strategy may yield and what its current programs suggest about the changing nature of the Russian television market in an increasingly politicized environment.

- by Jeffrey Brassard
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- Russian Studies, Media Studies, Russia, European television

Technological convergence has affected the media context of generalist television, modifying access and the consumption of content. The design of the scheduling of the general-interest linear television is a key element in understanding the policies that the operators follow when offering genres and formats, and in observing the similarities and differences between public and private ownership. This article analyses the television schedules of 25 generalist channels, public and commercial, operating in Germany, Spain, France, Italy and the United Kingdom. Some of the findings of this investigation show a) little diversity of genres, b) that the editorial policy of public broadcasters clearly differentiates them from private ones by prioritizing informational offerings, national fiction, and documentary info-shows, and c) strategic differences of genres by ownership in each country.

- by Elena Krivovyaz
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- Television Studies, Media transformations, European television

Der Beitrag diskutiert Deutschland 83/86/89 (D 2015–2020, RTL/Amazon Prime Video) und hier speziell die erste Staffel als Teen und Quality TV, an dem sich gegenwärtige Transformationen der hiesigen Fernsehserie abzeichnen. In einer textuellen Analyse werden die Zugehörigkeit zu diesen Metagenres als auch zu spezifischeren beleuchtet und Coming-of-Age-Narrative herausgearbeitet, mittels derer die 80er-Jahre-Miniserie Deutschland 83 den für die deutsche Fernsehfiktion prägenden historischen Event-Mehrteiler reformiert hat. Auf der Grundlage von Expert*innen-Interviews und teilnehmenden Beobachtungen bei Branchen-Workshopsfinden zusätzlich Produktionskontexte und somit auch allgemeinere Tendenzen in der deutschen Fernsehserien-Industrie Beachtung. Deutschland 83, so wird sichtbar, weist auf eine Auffächerung der Fernsehbranche hin, in deren Zuge auch teenagerspezifischere Programme möglich werden.

- by Florian Krauß
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- Television series, Teenpics and Teen TV, German television, European television

In the 70s, some European scholars in the field of humanities, exceeded by the vogue of structuralism vulgate which was preaching the integration of particular facts into large systematic patchworks, decided to put a stake on the very experiences that those facts are. He distinguished between the "culture of the meaning" and the "culture of the presence", to disinter the "authentic" being-to-being contact and the immediacy of experience. One of them, Hans-Ulrich Gumbrecht, has recently explained this cultural shift in the humanities, in a book called "Production of Presence". At the same time, Romania's communist propaganda was trying hard to "authentify" the new media language, given the raise of the Television at the beginning of the 60s, in a freer post-stalinist society. The new goal of the audiovisual media was to create synthetic "moral immediacies" or "ideological feelings": that is, to merge the two types of culture into a new totalitarian one, in which Television could create and signify at the same time and through a single process "enthusiasm" and its moral signification.

Since Immanuel Wallertstein's world-systems theory and in the wake of the history of mentalities, disciplines other than economic history (Franco Moretti's quantitative literary history) have been using approaches to historical realities based on the relationship between center(s) and periphery(s). In this paper, we propose a similar approach to the history of European television prior to its digital stage, mainly between 1950 and 1990. Among other, we look into current distinctions used in some recent studies on the history of television between, on the one hand, " socialist television " and democratic television, and on the other hand, between " authoritarian regime " television, which also includes non-socialist South-European countries, and democratic television. In order to do so, we first review the main aspects of Wallerstein's approach, so as to pinpoint possible similarities with the dynamics of the history of European television.

The main goal of Canal + Spain was to reach a significant amount of subscribers by offering programming unavailable on other channels. Following the French programming model, Canal + adopted a logic of product differentiation and technological innovation. It featured two main types of content: a diverse roster of films, shown shortly after their theatrical release, and perhaps most importantly, the innovative broadcasting of live sports events, more specifically, football. This article focuses on sports programming in the beginning of Canal + Spain. First, it offers an account of the Spanish television landscape in the late 1980s and early 1990s. Then, it scrutinizes the arrival of commercial television within the Spanish mediascape, thus examining the launching of Canal + by paying attention to the specificity of the Spanish audiovisual market. Second, this essay analyzes the types of live sports broadcasts, focusing on football, in Canal + during the early 1990s in order to account for their importance in creating a unique kind of product designed to appeal to potential subscribers. More specifically, we will argue that live football broadcasts did not only attempt to establish a clear demarcation with the old-fashioned image and soundscapes of traditional television, but also aimed at culturally appealing to a urbanite, cultivated spectator, precisely the type of viewer Canal + tried to recruit in its early days. Therefore, we will discuss how technological excellence and spectacle became tools for the expression of specific cultural values. In short, Canal + offered a content and technology-driven " change of aesthetics " within the Spanish mediascape in the early 1990s.

- by Vicente Rodríguez Ortega and +1
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- Television Studies, Sports History, Television, Sports

La puesta en marcha de las primeras ofertas de televisión digital terrestre (TDT) en Europa nos demuestra un interés insuficiente por los contenidos: apenas se han generado ofertas específicas para este nuevo sistema. Las programaciones generalistas y los canales temáticos presentes en la televisión por cable o vía satélite, sustentados en los principales macrogéneros ya conocidos, conforman la oferta existente. The setting up of the first DTT's in Europe has demonstrated that there is a lack of interest in content: very few specific offerings have been developed for this new system. Current offerings available consist mostly of general content programming and theme-based channels already offered by cable or satellite-dish television stations and which draw upon all-too-familiar program types for their content.

- by Matilde Delgado
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- Television Studies, Television genres, European television, Televisión Digital

One of the most compelling and current challenges for television studies is to work on the edge of national and international boundaries. Such work must attempt to scrutinize the historical evolutions of the different television national systems in the light of broader, supranational trends. Following a comparative approach, and in order to better understand the developments of European television, the focus on commercialization is without any doubt productive: the entry of private and ad-based players in TV national markets is a major phenomenon that has affected European broadcasting systems at different times and speeds, with complex consequences. Starting from the strong tradition of public service broadcasting and, in many cases, of monopoly, European television has experienced the birth of commercial TV at different points of its history, from the first experiments in the UK during the Fifties until the articulated – and often contradictory – process of deregulation and “liberalization” that occurred in many continental countries from the Seventies, as well – in Eastern Europe – along the Nineties.
This special issue of "Comunicazioni sociali" analyzes the gradual diffusion of several models of commercial TV throughout the decades into different nations across Europe. It aims to provide readers with an outline of the implications of commercialization at the social, cultural, institutional, political, textual and technological level, through case studies of individual nations or regions, comparative studies or theoretical analyses.

- by Luca Barra and +1
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- Media Studies, Television Studies, Media History, Media Industries
- by Jerome Bourdon
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- Popular Culture, Reality television, Public Service Broadcasting, Americanization

- by Emili Prado
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- Twitter, European television

El acceso y el consumo de la televisión generalista ha variado tras la convergencia tecnológica. El diseño de las progra- maciones de la televisión lineal generalista es clave para entender las políticas que los operadores están aplicando en la oferta de géneros y formatos, y observar las divergencias y similitudes entre cadenas de titularidad pública o privada. Este artículo analiza la oferta televisiva de 25 cadenas generalistas, públicas y privadas, que operan en Alemania, España, Francia, Italia y el Reino Unido. Algunos de los hallazgos de esta investigación muestran: a) escasa diversidad de géneros, b) la política editorial de las emisoras públicas se diferencia nítidamente de las privadas privilegiando la oferta de infor- mación, la ficción de producción nacional, y los info-shows de tipo documental, y c) apuestas de géneros diferenciadas por titularidades según los países.

Einem weiten Filmbegriff folgend, konzentriert sich der Vortrag auf Fernsehserien. Sie stellen einerseits einen zentralen Kontext aktueller Jugendnarrationen dar (vgl. z.B. Serien wie Stranger Things oder 13 Reasons Why) und andererseits als Online- und On-Demand-Angebot einen wichtigen Bestandteil in der aktuellen Mediennutzung Heranwachsender (vgl. Medienpädagogischer Forschungsverbund Südwest 2018). Angesichts der veränderten Fernsehnutzung, die freilich nicht nur Jugendliche betrifft, und der neuen Konkurrenz durch Streaming-Plattformen setzen Sender und Produktionsfirmen aus Deutschland verstärkt auf ‚Qualitäts‘- und Miniserien mit Online-Auswertungen (vgl. Krauß 2018). Deutschland 83 (D 2015–) markiert den entsprechenden Wandel nicht nur als transnational reisendes Format, das vom werbefinanzierten Sender RTL zu Amazon Prime überging, sond auch als horizontale Jugendnarration mit populärkulturellen Ingredienzen. Mein Beitrag möchte jene Serie im Hinblick auf Jugend und Populärmusik diskutieren. Einer Film- bzw. Seriernenanalyse folgend, wird analysiert, wie die erste Staffel Jugend- und Musik inzeniert. Zusätzlich werden Expert*innen-Interviews mit Produzierenden aus Perspektive der Media Industry Studies (vgl. Bruun 2016) herangezogen, um in diesen Zusammenhang auch Produktionsstrategien herauszuarbeiten. Die extra- und intradiegetische 80er-Jahre-Musik in Deutschland 83 dient nicht nur dazu, das Coming of age der männlichen Hauptfigur räumlich und zeitlich zu verorten. Vielmehr verjüngt und transformiert die Produktionsfirma UFA Fiction (ehemals teamWorx) mit Jugend und Musik auch den historischen Event-Mehrteiler (vgl. Cooke 2016, Dörner 2012) und macht ihn mit Retro-Kulturen für ein internationales als auch jüngeres, wenngleich nicht nur jugendliches Publikum anschlussfähig.

- by Florian Krauß
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- Popular Music, History on Television, Television series, Teenpics and Teen TV

edited by Monica Dall'Asta, Natacha Levet, Federico Pagello

- by Monica Dall'Asta
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- Television Studies, Glocalization, Cosmopolitanism, Crime fiction

Il servizio pubblico rappresenta il contributo più importante e originale che l’Europa abbia offerto alla storia mondiale della televisione. Il libro di Jérôme Bourdon colma un’importante lacuna e rappresenta il primo tentativo di raccontare una storia integrata delle televisioni europee: l’autore individua una serie di fili rossi, di scambi e di sovrapposizioni che s’intrecciano lungo sessant’anni e che riguardano sia le vicende istituzionali e politico-economiche sia i contenuti e i grandi generi (dall’informazione alla fiction, dall’intrattenimento alla reality tv) nei cinque Paesi più importanti dell’Europa occidentale (Italia, Francia, Germania, Spagna e Regno Unito), con incursioni anche in nazioni più piccole (come i Paesi Scandinavi, il Portogallo e i Paesi Bassi).
Quella che emerge è una storia avvincente, caratterizzata da importanti somiglianze e altrettante differenze, che riguardano, per esempio, i modi in cui i diversi sistemi televisivi hanno affrontato cambiamenti epocali come la de-regolamentazione, l’avvento delle reti commerciali, la sfida dell’Auditel e dei sistemi di quantificazione del pubblico, la circolazione internazionale dei format e la progressiva ‘americanizzazione’ della cultura popolare del Vecchio Continente. Se, nonostante qualche tentativo non sempre pienamente riuscito, è difficile individuare una ‘televisione europea’, non di meno l’Europa è stata in grado di partorire una forma di televisione del tutto peculiare: pur con tutta la sua fragilità, qui è nata e si è sviluppata una nozione che ha fortemente inciso sulle culture e sugli immaginari. Se la storia del servizio pubblico europeo può finalmente essere tracciata, il suo destino resta tuttora incerto. Questo libro consente di capire perché, nonostante gli attacchi che provengono da ogni parte, il servizio pubblico merita di essere difeso e rilanciato.

- by Rubén Romero Santos
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- Television Studies, British television history, BBC, British Television