Television Production in Transition

Abstract

of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Foreign Ownership of Production Companies as a New Mechanism of Internationalizating Television: The Case of Australian Scripted Television

“…This analysis is not meant to dispute the strong and rigorous recent work of Doyle et al (2021) that finds ownership to have minimal impact on production company operation. Rather, this research illustrates that there are other related questions that might be asked and different implications for small nations, at least for Australia.…”

“…As recounted earlier, there are many reasons why foreign acquisition may prove valuable for a production company. Being part of a large production conglomerate provides greater access to risk capital, a worldwide distribution infrastructure, and bargaining power that comes with scale (Doyle et al 2021). Similarly, scale inspires confidence amongst commissioners and program buyers that the necessary expertise and resources are there to complete projects on time and under budget (Esser 2017).…”

“…A more nuanced understanding of this mechanism and its implications for the dynamics of cultural production and circulation is needed. This phenomenon has primarily been studied in terms of its ramifications for business and industry, including a recent and well-evidenced account of the UK context by Doyle et al (2021), and in Doyle and Barr (2019). This article is interested in business dynamics, but foremost investigates the cultural implications of foreign production company ownership, and specifically with a focus on scripted programming.…”