The making of an entertainment revolution: How the TV format trade became a global industry

Chalaby, Jean K.

doi:10.1177/0267323111423414

Cited by 50 publications

(32 citation statements)

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“…The reasons behind this entertainment revolution are multiple and have been detailed elsewhere (Chalaby 2011(Chalaby , 2012. In an age of fierce competition, TV formats enable broadcasters to offer local programming -always the audience favourite -whilst managing risk (with the knowledge that the same concept has a proven track record in other markets) and driving down costs (through the progressive refinement of the production model).…”

Section: Jean K Chalabymentioning

confidence: 99%

Reflection i: Transnational TV Formats: Making the Local Visible and the Global Invisible

Chalaby¹

2013

Critical Studies in Television: The International Journal of Te

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Section: Jean K Chalabymentioning

confidence: 99%

Reflection i: Transnational TV Formats: Making the Local Visible and the Global Invisible

Chalaby¹

2013

Critical Studies in Television: The International Journal of Te

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“…In the past, as noted above, European broadcasters purchased almost exclusively finished programmes, either films or TV series from Hollywood or documentaries from European counterparts. The format revolution that occurred in the late 1990s deepened media globalization (Bazalgette, 2005;Chalaby, 2011).…”

Section: The Hollywood Studios Join Inmentioning

confidence: 99%

“…Although this type of programming remains, today it is complemented by international shows and concepts that have been adapted locally. This new development has led to the emergence of transnational formats covering the whole spectrum of scripted and unscripted entertainment, from game shows to talent competitions and from observational reality programmes to scripted series like The Office, Ugly Betty or (Chalaby, 2011;Esser, 2010;Moran, 1998Moran, , 2006. Each year, around the globe hundreds of formats are created, traded and produced, involving hundreds of broadcasters and TV production companies.…”

Section: Introductionmentioning

confidence: 99%

Producing TV Content in a Globalized Intellectual Property Market: The Emergence Of The International Production Model

Chalaby

2012

Journal of Media Business Studies

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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

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“…At the same time as we continued our own research and presented it internationally, we became aware of a growing series of studies concerned with the modification of specific products, particularly, the localization of global game shows, such as Big Brother (Chalaby, 2011), scripted shows like The Office (Breeden & De Bruin, 2010), and analyses of the various versions of the Colombian mega-hit Yo soy Betty, la fea, which has received considerable international attention (see Adriaens & Biltereyst, 2011;Fung & Zhang, 2011;McCabe & Akass, 2013;Mikos & Perrotta, 2012, just to name a few). Related to the processes of cultural localization found in those texts was the process of trading the products and rights (Chalaby, 2015), the specific international fairs where those products are exchanged (see Bielby & Harrington, 2008;Havens, 2006) and the role of business people in those venues (Kuipers, 2012).…”

Section: An Introduction To Cultural Transductionmentioning

confidence: 99%

An introduction to Cultural Transduction

Uribe-Jongbloed¹,

Espinosa-Medina²

2017

Pacla

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A few years back, while we were studying a variety of cases where media products had been changed or altered to suit specific markets, we discovered that there was a great amount of literature on the topic. The various authors we encountered talked about many different aspects of the process and provided a vocabulary that was developed to answer the particular concerns they had found when addressing their specific subject. However, as we pierced through pages of books and articles, we discovered that many of the terms were different, but the general meanings they were giving them were similar. Moreover, many of the terms and concepts proposed by the various authors seemed complementary and, in our eyes, the articulation of said concepts, bringing them together, provided a more nuanced and comprehensive picture of the subject. That is how we decided to create a general framework that could encompass all of the terminology and theoretical perspectives that had been developed, in order to provide a common ground for analysis of the processes of modification of cultural products as they crossed borders and markets.Our point of departure had been the flow and contraflow of cultural products (Thussu, 2007), which had been developed following a critique of the single-flow of television products (Tunstall, 1977) levied by Straubhaar (1991) andSinclair (1996). These critiques looked at the production and distribution of television programs in Latin America and presented a more complex landscape of the exchange of audiovisual products in terms of an asymmetrical interdependence and the establishment of geo-linguistic regions. 1 orcid.org/0000-0002-9415-7628. Universidad Jorge Tadeo

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The making of an entertainment revolution: How the TV format trade became a global industry

Cited by 50 publications

References 9 publications

Reflection i: Transnational TV Formats: Making the Local Visible and the Global Invisible

Reflection i: Transnational TV Formats: Making the Local Visible and the Global Invisible

Producing TV Content in a Globalized Intellectual Property Market: The Emergence Of The International Production Model

An introduction to Cultural Transduction

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