Television Formats Research Papers - Academia.edu (original) (raw)

- by Sharon Shahaf
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- Television Studies, Television Formats, Television Theory

ÖZET Yeni bir televizyon anlatı biçimi olan formatlar, birçok televizyon anlatı türü gibi sinemadaki geleneksel anlatı yapısıyla örtüşen bir yapıya sahiptir. Geleneksel anlatı yapısı daha önceden izleyici üzerindeki etkisi denenmiş ve başarısı kanıtlanmış bir yapı olarak bazı ideolojik işlevleri de yerine getirmektedir. Bir dönüşümü temel alan geleneksel anlatı yapısı Süper Nanny ve Türkiye versiyonu olan Süper Dadı programlarının üçer bölümü özelinde incelenmektedir. Format adaptasyonu ile kültür arasındaki ilişki bağlamında Süper Nanny formatın İngiltere yapımı ile Türkiye versiyonu arasındaki farklılıklara ve benzerliklere dikkat çeken karşılaştırmalı bir anlatı analizi yapılarak küreselleşen söylemin ortaya konması amaçlanmaktadır. Programlar, dramatik anlatı tarzıyla örtüşen formüle dayalı yapıları ile toplumda bazı işlevleri yerine getirmektedir. Bu işlevler içinde yaşanılan sistemi olumlamak, toplumsal sorunları gizlemek, basitleştirilmiş anlatı yapısıyla, popülerlik ve eğlence söylemleriyle izleyicinin edilgen bir şekilde sunulanı seyrini sağlamak, gerilimleri yatıştırmak, korkuları rahatlatmak, egemen ideolojinin çıkarlarına hizmet etmektir. Formatlarının farklı kültürlerde yeniden üretimi sürecinin basit ve mekanik bir dil değişikliğine dayanmadığı, küresel söylemler üreten ve ideoloji aktaran, homojen bir kültürel yapı oluşturmaya çalışan bir araç olarak işlediği ortaya konulmaktadır. Anahtar sözcükler: Format endüstrisi, format adaptasyonu, medyada küreselleşme, geleneksel anlatı yapısı, televizyon anlatısı TELEVİZYON ANLATI YAPISI Televizyon anlatısı, öyküleme yeteneğinin, televizyon ortamının anlatımsal yapısına aktarılmasıyla ortaya çıkar. Her bir televizüel anlatı farklı bir öyküleme tekniğidir ve program türlerini oluşturur. Aynı ya da farklı konular, farklı türlerde ve yapılarda karşımıza çıkabilir, hiçbir zaman tek ve bütünlüklü bir anlatı yapısı oluşturmaz. Öyküleme şekli her ne kadar farklı olsa da televizyon, kendinden önceki tüm anlatı biçimlerinden yaralanır. Masal, hikâye roman vb. 20.yy ın farklı hikâye anlatma şekli olan sinema, tarihte ilk kez hareketli görüntüler aracılığıyla anlam yaratma çabasının bir ürünü olarak ortaya çıkmıştır. Televizyon ise görüntü ile anlatma geleneğini sürdürür. Sinema genellikle geleneksel anlatı yapısını tercih eder. Geleneksel anlatı, bütünlüğe önem veren kapalı bir yapıdır. Televizyon anlatısı ise bütünlüklü değil akışkan, sürekli ve dinamik bir yapıdır. Aslında televizyon ile uyuşmayan bir yapı gibi görünse de, geleneksel anlatı yapısı bazı program türleri tarafından da sıklıkla kullanılmaktadır. Televizyon anlatısı, bazı program türlerinde gerçek olay ve durumlardan yola çıkarak oluşsa da salt gerçekliği aktarmanın mümkün olamayacağı, amaçlanmış, duygusal ve zihinsel etki yaratmaya çalışan kurmaca bir anlatıdır. Kurmaca anlatı temsildir, bir olayı temsil etmiyorsa anlatı olarak nitelendirilemez. Kurmaca anlatı sözel bir sunuş kipidir. Dolayısıyla olayların icrasından, sahneye konulmasından ziyade dil vasıtasıyla anlatılmasını içerir. (Aktaran Dervişcemaloğlu, 2014:51) Televizyon anlatısı görsel boyuta sahip olsa da ve söz ve görüntü her ne kadar birlikte bir etki yaratsa da asıl etki sözdedir. İzleyici adeta hipnozdaymış gibi görüntülerin etkisindeyken boşalan bilince söz yerleşir, söz izleyicinin bilincini yönlendirir. 1 1*Güç ve üstünlük kavramları Van Dijk'ın eleştirel söylem çözümleme yönteminde önem verdiği kavramlardır. Güç, üstün olan grubun kendi yararına başkasının düşüncesini değiştirmesi ve kontrol etmesidir. Söylemi kullanma hakkına sahip olan seçkin kitleyi ifade eder.

- by Nihan Dönmez
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- Television Studies, Television Formats, Freytag's Pyramid

O livro Estratégias de Transmidiação na Ficção Televisiva Brasileira, reúne as pesquisas realizadas por oito equipes de pesquisadores brasileiros que se dedicaram a pesquisar ao longo de dois anos (2012 e 2013) as estratégias de transmidiação dos produtos ficcionais da televisão brasileira. Entre essas estratégias encontram-se
aquelas acionadas pelo polo da produção e aquelas levadas a efeito pelo polo da recepção. Sob essa última perspectiva, encontra-se o trabalho criativo e colaborativo de telespectadores e fãs que tem como marca definidora a horizontalidade (com conteúdos produzidos por pessoas comuns interessadas em divulgar suas criações/opiniões – a chamadamass-self communication (Castells, 2009). A complexidade e as implicações desse fenômeno com referência a diferentes formatos da ficção televisiva brasileira – em televisão aberta ou por assinatura – poderão ser observadas nos capítulos que se seguem a partir de vários ângulos de observação: produção, distribuição, circulação e recepção.

Si sente sempre più spesso parlare di format di fiction, con l’ovvia conseguenza di accomunarli a quelli di intrattenimento. Ma sarà vero che Ugly Betty è come Grande Fratello? Alle continuità, ma soprattutto alle differenze, tra prodotto d’origine e declinazione nazionale, è dedicato questo pezzo/intervista, che prende in esame temi come l’ambientazione, la costruzione dei personaggi, il formato, il registro e lo sviluppo narrativo di una fiction di successo: I Cesaroni.

- by Luca Barra
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- Media Studies, Television Studies, Media Industries, Film Adaptation

Media Mutations, the international conference on audiovisual media, comes to its ninth edition. This year's theme is the cultural and industrial role of global formats in television production, distribution and viewing practices.
In the last fifteen years, following a long history that already started in the early years of the medium, television around the world has been constantly and successfully broadcasting global formats. Beginning with Big Brother, Survivor and Who Wants to Be a Millionaire?, and later with The X Factor, Masterchef, Peking Express, In Treatment, The Bridge, Pulseras Rojas and many others, formatted shows have contributed to the creation of a shared television aesthetics, spreading best practices in production, distribution and marketing, and increasing genre proximity across the world. At the same time, differences and national specificities are still at work, and the success of global formats in individual national markets depends on their successful localization. The process of formatization is now used in both TV fiction and entertainment production, and it is relentlessly expanding, both at the economic and cultural level, and in a convergent media scenario.
The conference aims to expand academic knowledge on this phenomenon, establish new research perspectives in the field, and strengthen our understanding of national and transnational distribution and reception practices. The focus will be on cultural and linguistic format issues, on legal, economic and productive aspects of format development and format trade, and on the different genres and types of formatted audiovisual products.

- by Luca Barra and +2
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- Television Studies, Television History, Television, Television Formats

Fin dai suoi primi passi nel contesto italiano, la televisione si è presentata – almeno in parte – come un corpo culturale estraneo: il vettore più importante della contaminazione culturale con gli Stati Uniti, che porta a compimento quanto già avvenuto con il cinema hollywoodiano, la musica pop, il fumetto. La tv arriva in tutte le case, e diffonde così in ogni famiglia le consuetudini (e le merci) dell’American way of life, senza possibilità di scampo. Anche in Italia il piccolo schermo, nei modelli professionali come nei temi e nei formati, pare da subito seguire l’American way of Television : dal «saccheggio» – lo sfruttamento più o meno esplicito di idee e professionalità che considera gli Stati Uniti «come mito, come modello, come serbatoio, come ideologia» a cui attingere con costanza –, ai pellegrinaggi professionali – i viaggi in cui addetti ai lavori che si presentano come «americani immaginari» apprendono le tecnologie, le routine di produzione, i trend culturali –, anche la televisione monopolista diffonde, pur filtrati, gli immaginari di Oltreoceano. I network commerciali prima, e poi i grandi gruppi internazionali localizzati in Italia, con la conseguente invasione dei palinsesti da parte di prodotti americani, non sono che tappe successive di un’“americanizzazione” dell’offerta e dei consumi televisivi già radicata alle origini del mezzo. [...]

- by Luca Barra
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- Television Studies, Global media, Media Industries, Television History

Scripted reality shows oscillate between fiction and nonfiction because based on a script they use amateur actors but also adopt the aesthetics of documentary-style reality television. Perception studies have proven that many viewers mistake the contents of such programs as everyday reality. An adequate framework to reveal these ambiguous relations needs to combine the product analysis with the additional analysis of the production aspects. That includes developing a categorization for (scripted) reality television, a combined analysis of the product and its production, and an analysis of the perception of scripted reality on television and through corresponding social media sites.

- by Daniel Klug
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- Media Studies, Television Studies, Popular Culture, Reality television
- by Ángeles Martínez-García
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- Television Formats

International trade and cooperation are increasingly affecting what we experience in the national and local media. This development is rapidly evolving with live televised events, like Idols and Dancing with the Stars, and here I pursue why (and how) this is so. I engage specifically with the ways in which licensed international programme formats intervene in existing programme traditions, and affect the repertoire and capacity of national television producers. I trace the practices of the two largest Norwegian broadcasters over the last two decades. The question is not only how licensed formats affect different industry sectors, in this case license-funded NRK and commercial TV 2, but also how different units within the broadcasters are impacted. The article calls for heightened sensitivity to new forms of control and collaboration in creative processes, and new routines for premeditating live events. It suggests that format exchange should be evaluated along a continuum from open to closed; a continuum that can bring nuance to discussions of cultural colonisation.

- by Yngvar Kjus
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- Television Studies, Media Production, Television Formats
- by Tasha Oren
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- Middle East Studies, Global Media Studies, TV studies, Television Formats

Comparing different versions of Undercover Boss reveals how an assemblage of TV producers, camera crews, businesses , and broadcasters choose to portray corporate hierarchies during the financial crisis of 2008 when corporations seemed like especially vulnerable forms of social organization for workers to rely upon. This article approaches the same show done in two different countries as a natural experiment that can reveal national differences through a textual comparison. The US show relies upon a sentimental imagination such that knowledge of the other is based on an emotional connection to the past. The UK show relies upon an organizational imagination in which the structural roles one plays in a company shape what one knows of how the company functions. Each version portrays distinctive approaches to three issues: (1) what can be known about people as social actors; (2) what is portrayed as ethical or appropriate workplace relationships; and (3) what kinds of tacit critiques of contemporary capitalism are possible.

- by Ilana Gershon
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- Television Studies, Workplace Studies, Reality television, Neoliberalism
- by Jerome Bourdon
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- Television Studies, Television genres, Television History, Television Formats
- by Sharon Shahaf
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- Cultural Studies, Media Studies, Globalization, Television Studies

Resumo: O objetivo do trabalho é entender como um reality show de comida, a despeito de ser um formato televisivo e, portanto, trabalhar elementos globali-zados, lida com questões vinculadas ao contexto onde o programa é produzido e exibido. A proposta é comparar o MasterChef Brasil ao MasterChef Colômbia para compreender de que maneira as similaridades e diferenças explicitam rela-ções entre o global e o local. A análise enfatiza a identidade dos jurados, a origem geográfica e social dos competidores e a maneira como lidam com a alimentação. Como premissa, considera-se que a comida, quando explorada midiaticamente, evoca elementos vinculados à cultura globalizada e à identidade do local onde se desenvolve. Abstract: The main objective of this paper is to understand how a reality show of culinary deals with local phenomena, despite of being a TV format that emphasizes global elements. To do so, the paper analyses MasterChef Brazil and MasterChef Colombia in order to see how their similarities and differences are able to explain the relation between the global and the local in both contexts. The analysis points out three perspectives: the judges' identities, the contestants' geographic and social origins and how these TV shows deal with food. The work

- by Ariane Holzbach
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- Television Studies, Reality TV, Television Formats, Audiovisual

NBC's failed attempt to remake the BBC's Coupling generated a significant amount of press coverage in summer 2003. At the core of the debate was a struggle to reconcile an increasingly integrated transatlantic television market with traditional assumptions about culture and its authentic connection to space and place. The interest in the remake not only created a space where certain national differences were played out and performed but also facilitated an equally compelling transatlantic dialogue about creative ownership, appropriation, and a network's responsibility to its audiences. In doing so, the media attention highlighted how television formats are best understood not as innocuous commodities of international trade but as potential sites of articulation, contestation, and community in an increasingly transnational television environment.

In recent years, the circulation of television programmes to multiple sites, such as radio shows, web news, tabloids and different magazines, seems to be increasing. Some popular television shows and personalities appear everywhere, even when you are not watching television. This article suggests that a popular television programme could be seen as an intermedial media event constructed by different media. The article asks how a television programme is constructed in the context of its dynamic relations to the media system. Construction of a media event is more than a corporate- or consumer-driven process; it involves other media agents outside the converged media companies. In this article, I will focus on what the role of television is in a media event. I will argue that a television programme can have certain strategies through which it offers interfaces for other media to participate in the media event.

- by Maiju Kannisto
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- Media Studies, Intermediality, Media Convergence, Television

Programmes based on the experiences and emotions of ordinary people are an important feature of television schedules worldwide. So far, however, media researchers have done little to investigate the motives and experiences of those who lend their lives to such programmes. This article investigates the experiences of participants in one of the more traditional programme formats based on ordinary people: the television dating game. This article presents evidence from a study of participants in Reisesjekken, a Norwegian dating game modelled upon the British ITV programme Blind Date. The analysis is based on interviews with 40 participants and five producers. The main questions are: Why do people want to participate in a television dating game? What are the main sources of conflict between participants and production staff? And, what do the participants get out of it in the long run?
Keywords: blind date, entertainment, game shows, Norwegian television, participatory communication, television formats, TVNorge

- by Trine Syvertsen
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- Reality television, Television genres, Media, Television Formats

Esplorando con occhio diagnostico le caratteristiche della società, i programmi di lifestyle e makeover, protagonisti indiscussi della televisione contemporanea, cercano di migliorare le competenze dei loro personaggi (e indirettamente degli spettatori) nei diversi ambiti che sono oggetto della rappresentazione, anche attraverso product placement ed espliciti consigli per gli acquisti.
In essi, la telecamera esamina l'intimità dei luoghi, delle persone e delle relazioni e indugia sulle vite dei personaggi alla ricerca dell’errore e di una possibile soluzione.
L'analisi che si propone di questi programmi mantiene una duplice prospettiva: in prima istanza si analizza l'uso esperto delle loro dinamiche narrative, che vivacizzano il racconto di lati noiosi e banali della vita di tutti i giorni; in secondo luogo si cerca di comprendere l'ideologia soggiacente a queste narrazioni: un racconto i cui protagonisti sono tenuti a un perenne automonitoraggio, all’esercizio di un “progetto del sé” che non ammette distrazioni.
L’errore è un leitmotiv di queste narrazioni, sia perché è un espediente drammaturgico molto efficace nella costruzione del racconto, sia perché è quasi sempre la premessa dei programmi di questo genere: siamo sbagliati nel modo in cui ci vestiamo, cresciamo i nostri figli, cuciniamo il risotto; ma c’è qualcuno – l’esperto della Tv – che può aiutarci a cambiare, a ricominciare, a non sbagliare più. Mettendo l’errore al centro delle nostre riflessioni il paper analizza il programma "Ma come ti vesti?" , un factual makeover di consigli sull’abbigliamento, con un occhio alle sue forme narrative e un altro alle implicazioni sociologiche di un fenomeno caratteristico dell’età dell’incertezza.

- by Jerome Bourdon
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- Television genres, Americanization, Television History, Television Formats

The concept of media events continues to generate widespread debate among scholars around the globe. Studies that challenged the concept’s functionalist foundations have undoubtedly sharpened our thinking. Conversely, approaches that have sought to expand the concept tend to confuse rather than clarify. In this paper, we argue that events that are planned, anticipated and involve external organizations in their design demand a specific set of analytical tools. Furthermore, we draw a further distinction between one-off events and those that are cyclical in nature, with the latter being theorized using insights from studies of the television format industry. This approach not only focuses much needed attention on the production side of media events but also the struggles between different interest groups (rights-holders, event hosts, media producers). We illustrate our arguments by drawing upon ethnographic material from the 2014 Eurovision Song Contest (forthcoming in 2020)

- by Michael Skey
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- Media Studies, Television Studies, Eurovision Song Contest, Television Formats

As a result of an international survey on Big Brother, the real-TV show broadcast all around the planet, we can underline how strongly television remains a cultural consumption, based on national or local traditions, norms of discourse and values. The globalization of television does not lead to cultural homogeneity as the different ways audiences and TV formats interactivity indicate it. This means that we have to pay attention to the adaptability of formats and, therefore, to the terminology we use to describe them. (Paper in spanish, w. Guy Lochard)

- by Guillaume Soulez
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- Globalization, Television Studies, Audience and Reception Studies, Reality TV

Extending back the insight offered by the emerging framework of global television formats, this
article examines the production and public reception of the first Israeli sitcom, Krovim-Krovim,
produced by Israeli Educational Television (IETV) between 1982 and 1986. As the first fullblown
Israeli series and a show modeled on the globally popular sitcom formula, Krovim-Krovim
was simultaneously celebrated for its Israeliness and condemned as a potential source of Western
‘cultural contamination’. The concerns converging around Krovim-Krovim in 1980s Israel are
representative of a larger global trend in that period that witnessed ‘the second wave of
globalization’. The simplistic media imperialism scenario that still dominates scholarship of these
trends fails to grasp the complexities typifying the process of globalization. Representing as they
do simultaneous standardization and heterogenization of form and content across borders, global
television formats seems to embody these complexities. By reevaluating IETV’s sitcom
production as an early case of format adaptation this article demonstrates the promises of this
fresh outlook for the study of historical as well as contemporary trends in television globalization.
By foregrounding the perspective of ‘local’ producers and critics, this article explores the cultural
significance of format adaptation for marginal and belated broadcast systems - like 1980s Israeli
television.

- by Sharon Shahaf
- •
- Media and Cultural Studies, Television Studies, Israel Studies, Popular Culture

This article elucidates a typology for cross-culturally comparing different versions of television formats. Digital tools are used to derive quantitative data based on temporal parameters of episode or genre of the narrative structure, content, and sequencing. Type one, which we also call “transposed narratives,” retains the narrative structure and sequencing while extending and expanding the narrative structure to readjust to longer broadcast times. Type two, which we call ‘transmutated narratives,’ re-distributes and re-organizes the narrative structure and sequencing to adjust to both extended broadcast time and other culturally relevant proximity issues. Type three adaptations display genre structure similarities while narrative structure, sequencing and content diverge. These we call ‘derived narratives.’

- by Edward Larkey
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- Computer Science, Globalization, Television Studies, Transnationalism
- by Ingrid Guardiola
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- Television, Television Formats, Mockumentary, Hoaxes
- by Skylla Blake-Janssen
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- Cross Media Platforms, Television Formats, Community building

With the rise of television formats in global television, several studies have examined the economic, political, and cultural aspects of this media product's production and circulation. This study analyzes the complex path of a television drama series from a local critical and popular phenomenon to a global " quality " fiction format, focusing on the transnationalization process of the format of the Israeli program BeTipul from its arrival in the United States to its adaptation and reception in Canada, Argentina, Brazil, and Italy. The study emphasizes the cross-cultural dialogic attributes of the quality fiction format, which support a strategy comprising both mutual benefits and competition, as opposed to the allegedly " odorless " or " neutral " features of reality and game-show formats.

- by Nahuel Ribke
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- Discourse Analysis, Media and Cultural Studies, Globalization, Television Studies
- by Skylla Janssen
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- Cross Media Platforms, Television Formats, Community building

The Arab viewer is in a state of bliss. Last year ended with some well-wrapped gifts in the form of free-to-air channels, and there are serious
prospects for introducing new ones this year. This paper will focus on the arrival of two new free-to-air entertainment channels, Dubai's One
TV and MBC 4. It will also describe the revamp of MBC 2 and discuss the positioning of these three channels as main competitors for paid
packages Orbit and Showtime.
These newly available choices offer an opportunity to take an interesting look at their positioning, marketing/promotion, price, and most
importantly, content. This paper will deal with the shaping of Western entertainment channels available for the Arab viewer, whether through a
subscription fee or free-to-air.

- by Joe F . Khalil
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- Television Formats, Arab media, MBC, Pay-Tv

Una riflessione che parte dal libro di Jean K. Chalaby per mettere in luce le molteplicità e le opposizioni insite nella definizione di format, per scomporre il termine lungo molteplici traiettorie e per proporne un ruolo importante come... more

- by Luca Barra
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- Television Studies, Global Media Studies, Global media, Globalization and Media

Book review published in Communication & Society, Vol. 27, nº 3, 2014.

- by Isadora García Avis
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- Television Studies, Adaptation, Television Formats
- by Landry Digeon and +1
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- Computer Science, Globalization, Television Studies, Transnationalism
- by Matt Boyd Smith
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- Animation, Genre studies, Television Formats, TV Genres and Formats

This study is based on author’s observation that the word format is becoming more and more frequent in the media practice and theory. However, the terminology of the (domestic) media studies is still omitting it. There are three... more

- by Michal Bočák
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- Media Studies, Television Studies, Genre, Radio

- by Landry Digeon
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- Computer Science, Globalization, Television Studies, Transnationalism
- by Eduard Cuelenaere
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- Television Studies, Book Reviews, Television Formats, TV Genres and Formats
- by hélène monnet-cantagrel
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- Media Studies, Television Formats

Studying television and its audience has been a common domain of communication research. In this study, relations between television show format preferences of football fans and manifestation of aggressive behavior are studied. Data is collected with a sample of television football show viewers in Turkey. Results revealed fanship, aggression and format preferences during hours of football television program viewing are all interrelated.

- by Yonca Aslanbay
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- Television Formats