TV production

This article concerns gendered sustainability of careers in the UK TV industry. Much academic scrutiny is focused on equality of access and progression, using data secured from those still working in the sector. The research featured here offers a new insight by focusing on career sustainability and exit, reporting on a survey of 80 individuals, both male and female, who left professional careers in the industry to move on to other careers or activities. While quantitative data demonstrate that incompatibility with parenting was the overwhelmingly dominant factor motivating early exit from the sector for women, the qualitative findings also advance discussions of wider structural barriers and gendered inequalities, embedded in working cultures, practices and attitudes. The article explores the wider perception of a lack of care for the sector’s workers, as well as the individual bereavement and identity loss encountered by those who leave.

Sophie G. Einwächter und Vera Cuntz-Leng: „Von Enden und Anfängen: Serienfragmente in Fankultur und Wissenschaft“. In Fröhlich/ Einwächter/Scheurer /Cuntz-Leng (Hg.): Serienfragmente. Springer VS, 2021, 403-426.

Zugang zum gesamten Buch über Springer Link.

Abstract:

Im Folgenden möchten wir resümieren, wie sowohl fankulturell als auch wissenschaftlich mit Serienfragmenten umgegangen wird: Zuschauer_innen (oder gar Fans) sind von Serienfragmenten auf besondere Weisen emotional betroffen, Wissenschaftler_innen werden in ihrer Forschung zu Serienfragmenten mit methodischen Herausforderungen konfrontiert. Zudem werden wir in einem Ausblick Aspekte des Serienfragments festhalten, welche wir aktuell und zukünftig für besonders relevant halten. Hierbei wird uns die mehrfach wiederbelebte Serie Veronica Mars (2004–2005, 2014, 2019) als weiteres Fallbeispiel dienen.

Perkembangan industri media massa di era globalisasi semakin pesat khususnya media elektronik televisi, hal ini dapat diamati dari munculnya berbagai macam stasiun televisi swasta nasional. Globalisasi informasi setiap media massa melahirkan suatu efek sosial yang bermuatan perubahan nilai-nilai sosial dan budaya. Proses globalisasi tersebut membuat arus informasi menyebar ke seluruh dunia, dan salah satunya adalah program televisi.

Pesatnya industri pertelevisian di Indonesia juga dipengaruhi oleh kebutuhan masyarakat akan informasi dan juga hiburan. Hal tersebut dijadikan peluang tersendiri bagi dunia pertelevisian di Indonesia untuk membuktikan bahwa media elektronik televisi mampu menayangkan informasi yang mendidik, menghibur, dan menjadi bisnis yang sangat menjanjikan.

Media massa merupakan suatu pesan yang bisa berbentuk lisan ataupun isyarat dan sudah menjadi bagian yang tidak dapat dipisahkan dari komunikasi massa itu sendiri. Pada prinsipnya media adalah penyampaian informasi dan komunikasi yang sangat berguna bagi manusia dalam meningkatkan mutu pengembangan sosialnya.
Kemampuan televisi dalam menarik perhatian masih menunjukan bahwa media tersebut telah menguasai jarak secara keseluruhan, baik dalam segi geografis maupun sosiologis. Pengaruh acara di televisi sampai saat ini masih terbilang kuat dibandingkan dengan radio dan media cetak. Hal ini dapat terjadi karena kekuatan audio dan visual televisi lebih menyentuh kejiwaan emosi penonton. Minat masyarakat menonton siaran televisi dipengaruhi faktor-faktor, konten acara, pengisi acara, konsep acara, waktu tayang, durasi, serta variasi acara itu sendiri. Terlepas dari segi pengaruh positif atau negatif, pada intinya media televisi menjadi tolak ukur dan cerminan budaya tontonan bagi pemirsa dalam era informasi dan komunikasi yang semakin berkembang dengan pesat, sehingga sampai saat ini pun televisi masih menjadi media yang paling banyak dikonsumsi oleh masyarakat Indonesia.

Televisi telah menghadirkan berbagai macam bentuk acara untuk disajikan pada masyarakat. Maraknya ragam bentuk acara yang ditayangkan oleh stasiun televisi swasta, baik itu yang bersifat edukatif ataupun sekedar hiburan semata yang ditujukan untuk memenuhi kebutuhan dan memanjakan pemirsa. Program-program yang ditayangkan selalu berkembang sesuai dengan kebutuhan zamannya sehingga banyak bermunculan tayangan-tayangan baru yang membuat acara televisi semakin beragam. Salah satu program tersebut adalah program entertainment (hiburan) khususnya acara program musik.
Munculnya beragam program musik di televisi meramaikan dinamika musik tanah air sebagai media perantara dan menjadi tontonan masyarakat yang menghasilkan rating yang cukup tinggi. Khalayak meresponnya sangat baik dan mempunyai suatu minat tontonan tersendiri untuk menjadi daya tarik yang menghibur, mendidik, dan mengikuti perkembangan musik tanah air bagi masyarakat. Seiring dengan berkembangnya program musik pada televisi, maka akan menyebabkan stasiun televisi lainnya mengikuti program tersebut dengan konsep dan bentuk program yang tidak jauh berbeda, tetapi sangat disayangkan apabila dengan banyaknya program musik di tiap statsiun televisi ini hanya merupakan sebuah pengulangan konsep dari program musik lainnya. Suatu program akan lebih bagus apabila program tersebut dikonsep secara baik dan berbeda.

Öz Bu çalışmada, sanat programlarının yapımı açısından TRT televizyon yayıncılığında zaman içinde ne tür değişimler olduğu ortaya konmak istenmektedir. Bu amaçla TRT'nin " Geçmişten Geleceğe Belgeler Bilgiler 1968/2008 " adıyla yayınladığı 4 ciltlik kaynak, program türleri açısından taranarak bir içerik analizi gerçekleştirilmiştir. Bu kaynakta yer alan 2000'i aşkın program arasından üretilen sanat programları tespit edilerek, yıllara ve on yıllara göre kategorize edilmiştir. Bu analizin sonucunda 1970'li yıllara oranla 1980'li yıllarda bir miktar azalan sanat programlarının en çok 1990'lı yıllarda üretildiği; ancak 2000'li yıllarda ise sanat yapımlarının sayısının 1980'li yıllara göre bile oldukça geride kaldığı görülmüştür. TRT, 1968 yılından bu yana sosyal sorumluluk anlayışıyla yayıncılık yapmış ve Batılılaşma hedefleri doğrultusunda bir kalkınma aracı işlevi yüklenmiştir. Bu nedenle diğer alanlarda olduğu gibi sanat alanında da modernleşme ve Batılılaşma doğrultusunda hareket etmiş; pek çok sanat dalında yayınladığı yabancı programların yanı sıra, yerli yapımlara da imza atmıştır. Ancak 2000'li yıllarla birlikte TRT'nin sanat yapımları konusundaki tutumu değişmeye başlamıştır. Bu değişimde Televizyon yayıncılık anlayışı kadar, sanat anlayışındaki farklılaşmalar da etkili olmuştur. TRT hem özel yayıncılıkla rekabetin hem de postmodern kültürün etkisiyle, hâlâ sosyal sorumluluk özelliğini taşımaya çalışmakla birlikte, kalkınma aracı olma niteliğini kaybetmiştir. Sanat alanında ise yeni medyayla bağ kurabilme ihtimali daha yüksek olan çağdaş sanat anlayışları hâkim olmaya başlamıştır. Anahtar kelimeler: TRT, Televizyon Yayıncılığı, Program Yapımcılığı, Medya, Çağdaş Sanat. Abstract In this study, it is aimed to show what kind of changes in TRT television broadcasting over time in terms of production of art programs. For this purpose, a content analysis was carried out by scanning the 4 volumes of the TRT's "Past to Future Documents Information 1968/2008" in terms of program types. Art programs produced from over 2000 programs in this source have been identified and categorized according to years and decades. As a result of this analysis, it is observed that the art programs, which decreased somewhat in the 1980s compared to the 1970s, were produced mostly in the 1990s; but in the year 2000s, the number of art productions was far behind compared to the 1980s. Since 1968, TRT has been publishing with an understanding of social responsibility and it has also functioned as a development tool in the direction of the goals of Westernization. For this reason, as in other fields, he has acted in the field of art in the direction of modernization and Westernization; in addition to the foreign programs he has published in many arts, TRT has also signed national productions. However, with the years of 2000, TRT's attitude towards art productions has begun to change. In this change, differentiations in understanding of art have been as influential as television broadcasting understanding. TRT, while still trying to carry social responsibility, has lost its qualification as a means of development, with both its competitiveness in private broadcasting and the influence of postmodern cultures.In the field of art, contemporary art concepts that are more likely to link with the new media have become dominant. 1. GİRİŞ Türkiye'de genelde medyanın, özelde televizyonun sanata yaklaşımı ya da sanata alan açma konusundaki tutumu, her zaman eleştirilmiş ve pek çok akademik çalışmaya konu olmuştur. Oysa medya ve sanat, esasen farklı alanlar, farklı araçlardır. Aralarında mutlaka bir bağ ya da bir birlik kurulması gerekmez. Ancak kamu yayıncılığı açısından düşünüldüğünde durum farklılaşır ve kamu yayıncılığı yapan bir kurumun sanat konusundaki tutumu sorgulanabilir hale gelir. Zira TRT'nin görev, yetki ve sorumluluklarını belirleyen Türkiye Radyo ve Televizyon Kanunu † , sanat programları yapmayı görevleri arasında sayarken (madde 9); mümkün olduğunca çeşitli konulara yer vererek yayın türlerinin dengelenmesini de sorumluluk olarak görmektedir (madde 17). Cumhuriyetin ilk yıllarında, savaş sonrasının getirdiği karamsarlık ve yoksulluk içinde bile, sanat, öncelikli olmamasına rağmen batılılaşma ve modernleşme hedefleri doğrultusunda oldukça önemsenmiştir. Aynı hedeflere paralel olarak TRT bir kalkınma aracı işlevi görmüş; bu nedenle de pek çok konuda olduğu gibi sanat konusunda da yüzünü Batıya dönmüştür. Kamu yayıncılığı yapıyor olması ve 1990 yılına kadar yayıncılık tekelini elinde bulundurması ise onu güçlü kılmıştır. Yeni medyaların ortaya çıkması ve giderek daha çok kullanılıyor olmasına rağmen geleneksel medya ve televizyon, hâlâ en yaygın medya olma ve en geniş kitleye seslenebilme özelliğini korumaktadır. * Dr. Öğr. Üyesi, Artvin Çoruh Üniversitesi, Sanat ve Tasarım Fakültesi, Görsel Sanatlar ve Tasarım Bölümü † 2954 sayılı Türkiye Radyo ve Televizyon Kanunu, 14.11.1983 tarihli ve 18221 sayılı resmi gazetede yayınlanmıştır.

Ce rapport de l'Observatoire européen de l'audiovisuel, réalisé avec la collaboration de la Banque européenne d'investissement (BEI), propose une analyse comparative des systèmes d'aide publique directe aux oeuvres cinématographiques et audiovisuelles dans 35 Etats européens.

El objetivo del estudio es efectuar un análisis micro social de las fases productivas de las tiras diarias televisivas argentinas.

Los procesos de organización productiva y del trabajo en la producción de televisión han sido poco abordados en las investigaciones. De este modo se busca dar cuenta de los elementos clave de las fases de pre producción, producción per se y post producción de las tiras diarias televisivas en la Argentina. Con el fin de comprender el funcionamiento y la estructuración de las tiras diarias se conjuga una perspectiva del campo comunicacional, la Economía Política de la Comunicación (EPC) y se retoman una serie de contribuciones realizadas desde la sociología, especialmente los estudios ligados a la Sociología del Trabajo (ST). Así, se resumen las características de la industria televisiva y los rasgos de los bienes culturales, en particular, las tiras diarias. De modo concurrente se reconocen los modelos de organización productiva y del trabajo, las economías del tiempo, la división del trabajo y los procesos de control/coordinación laboral.

The last decade has witnessed the growth of TV formats such as Big Brother or The X Factor, developed in one market and sold internationally for local adaptation. This article reveals the scale and significance formatted television content has attained, drawing on a case study analysis of US schedules from the 2007–2008 broadcast season. The high share of formatted programming found in primetime schedules (an average of 33% of broadcast hours) becomes understandable in light of the context and the advantages formats have for broadcasters and producers. The findings suggest that the franchising of content, both expression and outcome of television's commercial saturation, will continue to play a crucial role in TV schedules around the world. This franchising will contribute to the convergence of television globally, not just structurally but also in terms of concrete, albeit locally modified, content.

The regulation of broadcast religious programming is a critical challenge the National Broadcasting Commission (NBC) is facing in Nigeria. In Maiduguri, the capital of the north-eastern Nigerian state of Borno where religion forms a core part of the people’s culture, a great deal of Borno Radio Television (BRTV) and Nigerian Television Authority Maiduguri’s (NTA Maiduguri) airtime is allocated to Islamic preaching during the Muslim’s annual Ramadan fasting. However, there is a dearth of research on whether the airtime those broadcast stations allocate to Islamic programming complies with the NBC code on religious programming. This research gap formed the main research question of this study which was conducted during the second quarter of 2019. Primary data were collected using key informant interviews with five personnel from the two broadcast stations and the Maiduguri office of NBC, while secondary data were obtained through the review of official documents. Key findings showed t...

I canali sono sempre di più, i loro palinsesti vanno riempiti. E le serie tv continuano a giocare un ruolo essenziale in questa partita, sia in prima visione sia nei possibili riutilizzi di un archivio quasi sconfinato. Proviamo a fare un passo indietro, e a vedere come i telefilm arrivano nel nostro Paese. Andando a curiosare nelle trattative che legano i broadcaster italiani ai distributori internazionali. Dove si decidono gli acquisti e i diritti. In pratica, che cosa vedremo, in che modo e su quale piattaforma.

This article is concerned with the consolidation of European TV format production companies during the first two decades of the twenty-first century and its likely impact on the configuration and long-term sustainability of the world’s largest format production market, the United Kingdom. Theoretically and methodologically influenced by various approaches – critical political economy, meso-level television industries research and scholarship concerned with the locational choice of economic activity – this exploratory study combines the macro-picture of consolidation at the European and international level with a fine-grained case study of the UK television market. It discloses an ecology faced with a range of opportunities and threats, likely to result in marked and enduring changes to UK entertainment.

Nadia Kløvedal Reich er fiktionschef i DR med dramachef Piv Bernth som en tæt samarbejdspartner. I et interview med Jakob Isak Nielsen fortæller Nadia Kløvedal Reich, hvad der karakteriserer DR’s tv-serier – herunder Forbrydelsen – ligesom hun giver sin udlægning af, hvordan DR’s tv-serier kan siges at adskille sig fra andre landes tv-serier.

This chapter critically explores common conceptualizations of ‘the local’ and resulting assumptions about what ‘localization’ means. It draws on globalization theories questioning the prevailing notion that the local is bound to territory, usually the nation state, and on empirical findings that reveal the complexity, fluidity, diversity and multiplicity of television audiences. In doing so, the chapter challenges several influential, foundational theories in television studies, particularly ‘national audience’, ‘adapting for a national market/audience’, ‘cultural discount’ and ‘preference for the local’. Their reductionism and mythological nature, it is argued, creates blind spots and impedes an advanced theoretical and practical understanding of ‘local’ization.   

Keywords: defining localization, national television, television audiences, transnational television consumption and reception, cultural reductionism and essentialism

The regulation of broadcast religious programming is a critical challenge the National Broadcasting Commission (NBC) is facing in Nigeria. In Maiduguri, the capital of the north-eastern Nigerian state of Borno where religion forms a core part of the people’s culture, a great deal of Borno Radio Television (BRTV) and Nigerian Television Authority Maiduguri’s (NTA Maiduguri) airtime is allocated to Islamic preaching during the Muslim’s annual Ramadan fasting. However, there is a dearth of research on whether the airtime those broadcast stations allocate to Islamic programming complies with the NBC code on religious programming. This research gap formed the main research question of this study which was conducted during the second quarter of 2019. Primary data were collected using key informant interviews with five personnel from the two broadcast stations and the Maiduguri office of NBC, while secondary data were obtained through the review of official documents. Key findings showed t...

ÉCONOMIE DE LA FICTION TÉLÉVISUELLE EN EUROPE (SYNTHÈSE)
Montants des investissements et relations entre diffuseurs et producteurs

Une étude de l’Institut national de l’audiovisuel (INA) réalisée en collaboration avec l’équipe Eurofiction pour l’Observatoire européen de l’audiovisuel et le Centre national de la cinématographie (CNC)

Sous la responsabilité scientifique de Jean-Pierre JEZEQUEL (INA) et André LANGE (Observatoire européen de l’audiovisuel).

Purpose This paper aims to discuss the emerging theme of risk aversion in entrepreneurs following high levels of industry consolidation. Design/methodology/approach This paper is a viewpoint on the authors’ opinion and interpretation of industry consolidation. Findings The UK Independent TV Production Industry has experienced a remarkable degree of consolidation with corporate acquisitions and mergers changing the size, shape and revenue distribution among firms in the industry. In addition, entrepreneurs appear to be more risk averse in terms of entering the industry. Practical implications If the trend in entrepreneurs in the UK TV Production Industry being more risk averse continues, then the number of new startup firms will fall and that could put the future of the industry at jeopardy. Originality/value This paper presents an interesting observation on the impact of consolidation of the UK Independent TV Production Industry, in so far as, entrepreneurs appear to be becoming mor...

Transmedia storytelling has been widely researched as a new topic in the last decade. The transmedia field includes many publications exploring the topic from different perspectives, but it lacks a standard methodology that allows the measurement of different case studies under a unified pattern. This research suggests a model for transmedia ecosystems that will allow researchers to study them in-depth. Authors suggest a potential configuration based on a simplified image of the transmedia universe, in which projects are divided into well-differentiated narrative systems, allowing the obtention of precise details on their basic functioning. This paper provides an original methodology able to observe the transmedia universes from different perspectives. To test the validity of the paradigm, the model has applied to the case study of the Spanish-fiction product, The Ministry of Time (El Ministerio del Tiempo, in the original language), because of the multiplicity of content renders it...

The regulation of broadcast religious programming is a critical challenge the National Broadcasting Commission (NBC) is facing in Nigeria. In Maiduguri, the capital of the north-eastern Nigerian state of Borno where religion forms a core part of the people’s culture, a great deal of Borno Radio Television (BRTV) and Nigerian Television Authority Maiduguri’s (NTA Maiduguri) airtime is allocated to Islamic preaching during the Muslim’s annual Ramadan fasting. However, there is a dearth of research on whether the airtime those broadcast stations allocate to Islamic programming complies with the NBC code on religious programming. This research gap formed the main research question of this study which was conducted during the second quarter of 2019. Primary data were collected using key informant interviews with five personnel from the two broadcast stations and the Maiduguri office of NBC, while secondary data were obtained through the review of official documents. Key findings showed t...

Transmedia storytelling has been widely researched as a new topic in the last decade. The transmedia field includes many publications exploring the topic from different perspectives, but it lacks a standard methodology that allows the measurement of different case studies under a unified pattern. This research suggests a model for transmedia ecosystems that will allow researchers to study them in-depth. Authors suggest a potential configuration based on a simplified image of the transmedia universe, in which projects are divided into well-differentiated narrative systems, allowing the obtention of precise details on their basic functioning. This paper provides an original methodology able to observe the transmedia universes from different perspectives. To test the validity of the paradigm, the model has applied to the case study of the Spanish-fiction product, The Ministry of Time (El Ministerio del Tiempo, in the original language), because of the multiplicity of content renders its study as highly efficient. Thus, we encounter a new transmedia universe that allows precise measurement and the obtention of conclusive data. The positive results confirm that the new methodological approach meets the initial expectations. At the same time, it offers the possibility of obtaining much more information than the one the limited space of this article allows to explain, which opens the door to new lines of research in the future.

In this chapter Esser uses TV Formats, such as Big Brother, Who Wants to Be a Millionaire? or The Voice, sold internationally for local adaptation, to exemplify and theorise glocalization in television. The format trade has become a significant and truly global business in the last ten years. It has further homogenized and simultaneously heterogenized television globally. After demonstrating television’s internationalisation in the form of glocal TV Formats, the empirical frame of the format study is used to critically explore some deficient conceptualisations including, the cultural-economic dichotomy, the equation of the local with the national, the ideologically charged notions of ‘de-localisation’ and ‘de-culturalization’ and the possibility of ‘universals’. The format derived reflections, it is hoped, will further our understanding of glocalization processes and research.

Zusammenfassung
• Europäische Produzenten begründeten mit erfolgreichen Formaten im Reality-TV und im Factual Entertainment einen neuen Trend in der internationalen Vermarktung von TV-Programmen.
• Zeitweilig verschoben sich die Gewichte von der traditionell dominanten US-Fernsehbranche nach Europa.
• Seit einigen Jahren kaufen US-Konzerne erfolgreiche europäische Produktionsgruppen auf und erneuern ihre führende Position im globalen TV-Markt.
• Die Folgen der vertikalen und horizontalen Integration betreffen Produktion, Distribution und Regulierung der Fernsehbranche.

Television producers have never been more in demand. With both Facebook and Apple recently announcing their own $1 billion budgets for creating original television content, the entertainment industry is about to enter a whole new era, with premium content creating the latest high stakes battlefield.

The amount of money being directed toward the production of original content is now reaching epic proportions, with Netflix, Amazon, and HBO alone adding over $12 billion this year to the mushrooming video storytelling economy.

Once reserved for the movie-making elite, the production of modern television shows is now the playground of choice for a less Hollywoodish tech industry, one that also specializes in extreme data manipulation.

Combine this with the fact that video is the most influential medium of our times, and we can begin to get a glimmer of how tech companies will leverage their newfound influence in unusual ways.

Over the coming years we will see a shift from simply selling ads to the sale of custom tailored hyper-influence packages.

Today’s intricately detailed viewer analytics, coupled with instantly modifiable content, and tightly monitored feedback loops; we move from merely targeting industry segments to laser focusing on an audience of one.

That’s precisely where we will begin to see scandals unfold.

This paper aims to analyse the SED (Socialist Unity Party of Germany) regime’s desire to control the public discourse about violence in GDR (German Democratic Republic) football and its wilful downplay as a non-political matter. The TV film Abseits (Offside), episode of the very popular series Der Staatsanwalt hat das Wort (The Prosecutor has the Floor) presented by state prosecutor Dr. Peter Przybilski and broadcast in prime time on DDR1 in December 1981, shall serve as example of this ideologized fiction building. Violence in GDR football was represented as a societal problem caused by adolescents and young adults with excessive alcohol consumption or psychological predisposition. Abseits/Offside confronts its audience with a filmic narrative centred around a non-football specific Rowdytum resulting of a love rivalry. Violence only erupts on the fringes of the stadium and Abseits (Offside) at least offers a fictional ellipsis and euphemism of reality in GDR football.

Nei palinsesti italiani, soprattutto satellitari ma anche generalisti, è tutto un cucinare, truccarsi, sposarsi, cambiare guardaroba, arredare casa, costruire oggetti. Sotto gli occhi dello spettatore sfilano cucine incredibilmente sporche, persone obese, cani e padroni che non vanno d’accordo, corsi di fai-da-te, persone con malattie impressionanti, famiglie da ricostruire, bambini da educare... Insomma, non sembra esserci ambito dell’esistenza umana che non sia stato ancora messo sotto l’occhio – spesso impietoso – della telecamera.
Il factual è la rappresentazione di una umanità composita, pulsante, complessa; è la fotografia – senza filtri ma col grandangolo – di difetti, manie, abilità. Tutto, nel factual, appare più vero del vero, e perciò attrae indiscutibilmente il pubblico.
Questo volume è un primo contributo alla riflessione su un tema intorno al quale pochissimo è stato scritto fino ad oggi e su cui, ne siamo convinti, resta ancora moltissimo da dire e da studiare sia sul versante teorico che su quello propriamente tecnico.
Il volume è diviso in due parti: nella prima parte si delinea il perimetro del genere, inquadrandone le caratteristiche di linguaggio e mettendone a fuoco i contenuti in termini stilistici e tecnici. Nella seconda parte si prendono in esame alcuni casi particolarmente significativi.