Suchergebnisse

Towards an Understanding of Media Transnationalism / Jean K. Chalaby -- Whoever Looks Always Finds: Transnational Viewing and Knowledge-Experience / Kevin Robins and Asu Aksoy -- The Quiet Invention of a New Medium: Twenty Years of Transnational Television in Europe / Jean K. Chalaby -- Maverick or Model? Al-Jazeera's Impact on Arab Satellite Television / Naomi Sakr -- Transnational Television in Sub-Saharan Africa / Graham Mytton, Ruth Teer-Tomaselli and Andre-Jean Tudesq -- The Transnational and the National: Changing Patterns of Cultural Influence in the South Asian TV Market / David Page and William Crawley -- The Transnationalization of Television: The Indian Experience / Daya Kishan Thussu -- Trans-border Broadcasters and TV Regionalization in Greater China: Processes and Strategies / Joseph Man Chan -- International Television Channels in the Latin American Audiovisual Space / John Sinclair -- Adapting US Transnational Television Channels to a Complex World: From Cultural Imperialism to Localization to Hybridization / Joseph D. Straubhaar and Luiz G. Duarte.

This article defends the thesis that game shows were a key influence in the development of reality TV, and understanding the latter depends on our knowledge of the former. The first section addresses the knowledge gap about game shows and asks the following questions: What are they made of, and what are the core elements that distinguish them from any other genre? The second part examines the relationship between game shows and reality programming. This article highlights the similarities between the two genres and demonstrates that the latter adopted many of the storytelling techniques pioneered by the former. Thus, this research seeks to make a double contribution to media and communication studies: it addresses a knowledge gap and thinks about game shows in relation to another TV genre. From a theoretical perspective, this research mixes a sociological approach to discourse with practice-oriented narrative analysis. It uses secondary and primary sources, which consist of interviews with UK-based TV executives and producers.

As television is embracing a new set of internet-related technologies, the medium is transitioning from broadcasting to streaming. With it, a new mode of distribution has emerged: the streaming platform. This research makes a three-pronged effort to assess their impact on the TV industry: it analyses the way platforms monetize content; it distinguishes types of streaming platforms based on a set of criteria that includes supply-chain arrangements and the way they structure commercial transactions among different sets of participants, and it considers the ownership of streaming services. This article contributes to media and communication studies by combining the platform literature with global value chain (GVC) theory in order to foster our understanding of streaming platforms. It contextualizes streaming platforms in the history of television and analyses how they are transforming the medium.

This article argues that the format business transformed into a trading system in the 2000s, system being defined as a singular transnational space structured by networks of interdependent economic agents, firms, institutions and places. Following the global commodity chain/global value chain approach set out by Immanuel Wallerstein and developed by Gary Gereffi, this article then examines each dimension of the global TV format commodity chain that runs through this trading system. Beginning with the governance structure, this article counter-intuitively asserts that despite the current boom in TV production, it is a buyer-driven chain with power resting firmly in the hands of those making the acquisitions: the broadcasters. Considering the chain's geographical configuration, this article identifies three tiers of format exporters and specific trade routes along which most TV formats travel. These findings enable us to reassess the claims made by the cosmopolitanization thesis about the nature of media globalization. Contrary to this thesis, this article asserts the need to comprehend media globalization within the context of an expanding capitalist world-system, and shows that the new transnational TV format trade and its commodity chain replicate the inequalities and power structures of former trading systems.

Many of today's popular TV programmes are formats that are adapted for local audiences as they travel from country to country. It is an industry that was transformed in the late 1990s by four 'super-formats' ( Who Wants to Be a Millionaire?, Survivor, Big Brother and Idols) and that is today worth an estimated €3.1 billion per year. This article focuses on the evolution that explains the emergence of these super-formats in the late 1990s. It traces the origins of the trade, uncovers the world's first deals and identifies the first TV formats that aired in the UK, France, Spain and Italy. It shows that the two key principles of the TV format trade were established by the early 1950s and argues that the TV format trade is an Anglo-American invention because the first format licences of US shows were acquired by British broadcasters. The second part explains those factors that led to the emergence of the super-formats and argues that the truly pivotal decade was the 1990s. This is the time when the forces that unleashed the super-formats gathered speed, when the format trade expanded beyond game shows and embraced emerging genres that have since become the bedrock of the TV industry, when British TV production companies emerged as leading format creators and producers, and when the world's two format powerhouses formed.

From its humble origins in the 1950s, the TV format industry has become a global trade worth billions of euros per year. Few viewers are aware that their favourite shows may be local adaptations but formats represent a significant percentage of European broadcasting schedules in access prime time and prime time. Formatted brands exist in all TV genres and reach almost every country in the world. This article defends the thesis that the format business turned into a global industry in the late 1990s. Before this turning point, the few formatted programmes were most likely American game shows that travelled slowly and to a limited number of territories. Following an overview of this early period, this article examines the convergence of factors that created a world format market. These include the emergence of four exceptional formats ( Who Wants to Be a Millionaire?, Survivor, Big Brother and Idols), the formation of a programming market, the rise of the independent production sector and the globalization of information flows within the TV industry.

This article addresses the following issue: how distinctive was the political communication system that prevailed during the de Gaulle presidency? How democratic was it? To this end, this essay places the Frenchpolitical communication system in a comparative perspective and constructs a typology that contrasts different models, placing the emphasison the ideology and elite mindset that underpin them. These typescomprise totalitarianism, authoritarianism, statism and liberalism. This article makes two main arguments. Regarding France, it shows that statism, particularly since the de Gaulle presidency, has had a lasting influence on the country's communication system. More generally, it isargued that political communication systems across the world remain fundamentally different from each other, and that the democratic modelis better and freer than non-democratic ones.

This article attempts to develop an understanding of transnational television in Europe. It argues that cross-border television channels expand and operate in different fashions and present distinct types of transnationality. It makes sense of this diversity by building a typology of four kinds of channels: ethnic channels, multi-territory operations, pan-European channels and networks. Drawing on an excess of 40 interviews with media executives in the multinational broadcasting industry, it shows that each type of cross-border channel entertains different relationships with the nation-state, geographical space and culture. This article also contributes to the theoretical framework that underpins the study of transnational processes and practices. It argues that the research on transnational television needs to adopt Beck's cosmopolitan perspective and become less nation-centric in order to comprehend the phenomenon's diversity and complexity. Transnational television channels do not challenge national sovereignty, but rather, face the challenge of transnationality.

Investigative reporting is a recent development in France, with the revelation of scandals becoming a legitimate practice for journalists only since the 1980s. To date, investigative reporting knows few practitioners and faces considerable obstacles. This article gives an account of its emergence and analyzes the reasons for its late development. The French journalistic tradition has long been influenced by literature and politics and therefore has not placed as much emphasis on the collection and exposition of facts as Anglo-American journalism. Until the 1980s, there was very little competition in the media field, acting as another disincentive for newspapers to seek out information. Until the beginning of the Fifth Republic, venality was widespread among French journalists, further hindering the revelation of scandals. Influential social theories prevented the personalization of politics, placing an emphasis on the systemic and collective causes of problems.

This article analyses the pan-European television industry in the context of the debate on globalization. Pan-European channels are a minority of transnational channels that broadcast across Europe. Their emergence over the last two decades has been made possible by a mix of commercial, regulatory and technological factors. Pan-European television channels can be distinguished by their content, type of ownership and market strategy. Since the mid-1990s, many pan-European channels have operated a shift in strategy and have begun to localize their pan-European feed. This article identifies four types of localization: local advertising, dubbing or subtitling, local programming and the local opt-out. Taking Eurosport and MTV as examples, I have illustrated the practices of localization and explain why some channels engage more in this than others. Localization can be seen as evidence of the vast differences that persist between national cultures. However, I have argued that localization facilitates the process of globalization because it allows transnational media players to overcome cultural diversity and operate efficiently in a multinational environment.

Der Beitrag analysiert die paneuropäische Fernsehindustrie im Kontext der Globalisierungsdebatte. Paneuropäische Kanäle bilden in der Gesamtheit der grenzüberschreitenden Fernsehkanäle in Europa eine Minderheit. Ihr Entstehen in den letzten beiden Jahrzehnten wurde möglich durch einen Mix von wirtschaftlichen, rechtlichen und technologischen Faktoren. Paneuropäische Fernsehkanäle können unterschieden werden nach Inhalten, Eigentumsverhältnissen und Marktstrategie. Seit Mitte der 1990er Jahre haben viele paneuropäische Fernsehkanäle ihre Angebotsstrategie geändert und begonnen, ihr paneuropäisches Angebot zu lokalisieren. Der Beitrag identifiziert vier Arten der Lokalisierung: lokale Werbung, Synchronisation oder Untertitel, lokale Programmanteile und eigene lokale Programmfenster. Am Beispiel von Eurosport und MTV werden die Praktiken der Lokalisierung aufgezeigt und erläutert, warum einige Kanäle mehr von dieser Möglichkeit Gebrauch machen als andere. Lokalisierung kann als ein Beweis für die immer noch vorhandenen Unterschiede zwischen den verschiedenen nationalen Kulturen verstanden werden. Die Argumentation des Beitrags geht jedoch dahin, dass Lokalisierung den Prozess der Globalisierung erleichtert, weil sie es den grenzüberschreitenden Medienanbietern ermöglicht, kulturelle Unterschiede zu überwinden und effizient in einer multinationalen Umgebung zu operieren. (UNübers.)

This article analyzes the relationship between Charles de Gaulle and television during his presidency. It examines the way the Gaullist regime controlled television and how this control influenced political coverage. It shows how propaganda requirements interfered with news values and the journalistic criteria of story suitability. This article also seeks to understand the influences that have shaped the relationship between de Gaulle and the media. It argues that de Gaulle refused to liberalize state television because of his belief in a powerful state, his preference for strong leadership, and the necessity for him to establish a personal relationship with the nation above and beyond the political parties against which he struggled. Finally, this article develops the concept of charismatic action, which refers to the public and broadcast acts that de Gaulle performed either to reinforce his charisma or to make demands on people by relying on his charisma.