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This article argues that journalism is an Anglo-American invention. The argument is developed comparing the evolution of French and Anglo-American journalism between the 1830s and the 1920s. It is claimed that American and British journalists invented the modern conception of news, that Anglo-American newspapers contained more news and information than any contemporary French paper and that they had much better organized news-gathering services. Proper journalistic discursive practices, such as reporting and interviewing, were also invented and developed by American journalists. French journalists, like journalists in many other countries, progressively imported and adapted the methods of Anglo-American journalism. This article also attempts to spell out the cultural, political, economic, linguistic and international factors which favoured the emergence of journalism in England and the United States. Journalism could develop more rapidly in these two countries because of the independence of the press from the literary field, parliamentary bipartism, the ability of newspapers to derive substantial revenues from sales and advertising, the dynamics of the English language and because of the Anglo-Saxon central and dominant position in the world.

This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent repository link The Emergence of the International Production Model AbstractThis article focuses on the production of transnational TV formats, and argues that a new business model has emerged over recent decades. Whilst many formats are still sold and produced under licence by a third party, leading TV production companies prefer to adapt their own shows in as many markets as possible, a strategy that has led to their internationalization. This article traces back the model's origins and shows how it was pioneered by game-show producers, and adopted by British independent TV production companies and a few European broadcasters, then eventually by several Hollywood studios. This led to the formation of today's 14 international TV production super-groups. This paper then argues that this model emerged in response to the globalization of the intellectual property market that was created by the TV format revolution. It was this revolution that spawned a market for intangibles such as programming concepts and production expertise, which today cross borders as much as finished programmes. This paper shows how the market has expanded a TV format's value chain, and how TV production companies have needed to develop their international capabilities in order to retain control of the chain. An international production network enables them to generate, exploit and protect intellectual property on a global scale.2

He is the editor of Transnational Television Worldwide (2005) and has published extensively in leading journals on a wide range of media-related topics.

This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent repository link: