Additional Information
Book Details
Abstract
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 analyse 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.
Table of Contents
| Section Title | Page | Action | Price |
|---|---|---|---|
| Cover | Cover | ||
| Half Title | i | ||
| Title | iii | ||
| Copyright | iv | ||
| Contents | v | ||
| Acknowledgements | ix | ||
| Foreword | xi | ||
| Introduction: A Changing Format Mosaic | 1 | ||
| Part 1: Overviews | 17 | ||
| Chapter 1: Television Format as a Transnational Production Model | 19 | ||
| Chapter 2: The Hybrid Status of Global Television Formats | 35 | ||
| Chapter 3: Formatting Reality: On Reality Television as a Format, a Genre and a Meta-Genre | 47 | ||
| Chapter 4: Seventy Years in the Making: The Advent of the Transnational Television Format Trading System | 63 | ||
| Part 2: History | 79 | ||
| Chapter 5: Medea’s Children: The Italian Version of The War of the Worlds | 81 | ||
| Chapter 6: Cultural Negotiation in an Early Programme Format: The Finnish Adaptation of Romper Room | 95 | ||
| Chapter 7: Song Contests in Europe during the Cold War | 109 | ||
| Chapter 8: “Do It, but Do It Dancing!”: Television and Format Adaptations in Colombia in the 1980s and Early 1990s | 125 | ||
| Part 3: Industry Players, Big and Small | 141 | ||
| Chapter 9: From Marginal Trader to Corporate Giant: The Emergence of FremantleMedia | 143 | ||
| Chapter 10: Formats and Localization in the Children’s Audiovisual Sector | 157 | ||
| Chapter 11: Wallander at the BBC: Trading Fiction Formats and Producing Culture for UK Public Service Broadcasting in the Contemporary Age | 171 | ||
| Chapter 12: Television Formats as Media Ritual Work Practices: Discourses of Freedom, Nationalism and Good Neighbours | 187 | ||
| Part 4: Territories and Markets | 201 | ||
| Chapter 13: The Social Contexts of Format Adaptation: Remaking Formats to Fit in China | 203 | ||
| Chapter 14: The Political Economy of Television Formats in Africa: The Case of Big Brother and Idols | 217 | ||
| Chapter 15: Global Reality Television and the Concept of Recursion: Idols in African Contexts | 231 | ||
| Chapter 16: Decentring Innovation: The Israeli Television Industry and the Format-driven Transnational Turn in Content Development | 245 | ||
| Part 5: Producers and Audiences | 263 | ||
| Chapter 17: Take a Look at the Lawman: Interrogating Critical Responses to the US Version of Life on Mars | 265 | ||
| Chapter 18: Sense of Place: Producers and Audiences of International Drama Format The Bridge | 281 | ||
| Chapter 19: The Duality of Banal Transnationalism and Banal Nationalism: Television Audiences and the Musical Talent Competition Genre | 295 | ||
| Chapter 20: The Voice of Queer Italy: The Politics of the the Representation of GLBTQI (Gay, Lesbian, Bisexual, Transgender, Queer and Intersexual) Characters in Italian Talent Shows and Their Reception in Online Discussions | 311 | ||
| About the Contributors | 327 | ||
| Index | 333 | ||
| Back Cover | Back Cover |