Globalisation can be recognized in different areas of the society. In the course of globalisation the national television markets will cumulatively be linked with each other. According to this the world is also getting close in the television-area. Different companies are following different strategies with different success. In the discourse of globalisation the dominance of western culture and his consumer society are often criticized.
Another point are the tendencies of homogeneity of civilisations. These occur as a result of processes of standardization and lead to an affiliation of cultures. According to this, local traditions could be substituted step by step if the behavoiur of consumers and other fields of everyday occurrences adapt one another. The entertainment industry plays a special role in that context. It helps to develop and distribute the products in a commerical way especially in the fields of television, film, music, books and pc-games.
The entertainment industry applies as mediator from different kinds and different worlds of living (cf. Bundeszentrale für politische Bildung 2006, website). Entertainment programmes are meanwhile seen to be effective in popularity and attractiveness. They regularly achieve high viewing figures. Within the entertainment section the international trading with specific broadcasting programmes has risen a lot. Since the meaning of the international formattrading has risen, a well known reality format is “Big Brother” (distributed in 23 countries) (cf. Bundeszentrale für politische Bildung 2006, p. 9 and Hamilton/ Stevenson 2005, website).
The Inventor is the endemol company which plays an important role in connection to the formattrading business (cf. Endemol 2006 a, website). The big sucess of “Big Brother” and “Who wants to be a millionaire?” have pushed the international trade with tv-formats at the end of the nineties and paved the way for a top-selling class of business.
This termpaper discusses the global format trade in general and the strategies, that endemol is following to adapt tv-formats to local conditions.
In Addition to that, there will also be explained the different types of acquisition or rather production. In the following the format “Who wants to be a millionaire?” is used for explaining important and interesting facts about a tv-format with an international success. Finaylle a short conclusion and some critical aspects in connection with the format business conclude this term paper.
Table of Contents
1. Introduction
2. Global network of Endemol
3. Types of production
3.1 In-house production
3.2 Commissioned production
3.3 Acquisition
3.4 Format-trading in general
3.4.1 Take-over
3.4.2 Format-adaption
3.4.3 Indirect format-adaption
3.5 Development of format-trading
3.6 Importance and extent of format trade
3.7 Strategies of Endemol
4. Who wants to be a millionaire
4.1 Endemol and “Who wants to be a millionaire?”
4.2 International Appearance
4.3 Regional Differences
4.4 Difficulties of commercialisation
5. Conclusion
Objectives and Topics
The paper examines the strategies employed by the global media company Endemol in the adaptation and commercialisation of television formats across international markets, specifically analyzing how global content is localized while maintaining brand consistency.
- Mechanisms and types of international TV format trading.
- Corporate strategies of Endemol as a global market leader.
- Case study analysis of "Who wants to be a millionaire?".
- Cultural and regional challenges in the globalization of entertainment products.
Excerpt from the Book
3.7 Strategies of Endemol
Endemol is deemed to be the world leading producer of tv-formats. It dominates the format business and is the largest independent single originator, distributor and producer of formats in the world (cf. Hamilton and Stevenson 2005, website). The company Endemol which is conceiving their broadcasting programmes for all countries in general follows the strategy of global thinking with local acting. This implies that Endemol adapts its formats in the respective countries through their employees to the local surroundings and conditions (cf. De Mol, 2004, website). This type of strategy conforms to the concept of Glokalisation. That concept indicates, that the biggest global media-companies inside of several national, cultural and linguistical shaped media-markets are constrained to follow each of them with specific differentiated strategies (cf. Donges 2002, p .207). Consequently, they have to put this in concrete tendencies inside of globalisation for localisation as well as for regionalisation.
In order to that there will be used so-called “flying producers” or in the language of Endemol consultants which help to protect the basic sustainment of the character of a format despite the adaption for the local market. (cf. Koch-Gombert 2005, p. 418). According to Mike Morley (executive director of licensing by Endemol), the task of a “flying producer” is, to listen to local broadcasters and to understand the cultural sensitivities of the local audiences to be successful (cf. Winslow 2003, website).
Summary of Chapters
1. Introduction: Discusses the context of globalization in television markets and the increasing importance of international format trading.
2. Global network of Endemol: Describes Endemol's corporate structure and how its global network facilitates the exchange of intellectual property and best practices.
3. Types of production: Outlines different models for acquiring and producing television content, including in-house, commissioned, and acquired formats.
4. Who wants to be a millionaire: Analyzes the success of a specific quiz show format and how it is adapted across various international territories.
5. Conclusion: Summarizes the challenges of format protection in a global market and the inherent limitations in predicting the success of televised content.
Keywords
Endemol, Globalisation, Television Formats, Format-trading, Commercialisation, Glokalisation, Adaptation, Who wants to be a millionaire, Media production, International broadcasting, Quizshows, Media markets, Content distribution.
Frequently Asked Questions
What is the central focus of this research paper?
The paper explores the strategies used by Endemol to adapt and commercialize global television formats for local markets, highlighting the tension between global standardization and local cultural requirements.
Which specific themes are covered in the work?
The core themes include the economics of TV format trading, the "Glocalization" strategy, production models, and the case study of the internationally successful format "Who wants to be a millionaire?".
What is the primary research goal?
The goal is to analyze how international production companies like Endemol navigate the globalization of media and successfully implement standardized formats in diverse cultural contexts.
Which methodology is applied in this analysis?
The paper utilizes a descriptive approach, drawing on industry reports, existing academic literature on media economics, and specific case examples to illustrate format trading mechanisms.
What topics are discussed in the main body?
The main body covers the definition of format trading, the network structure of Endemol, various production types, the role of "flying producers" in quality control, and the regional challenges faced during the rollout of international shows.
What are the characterizing keywords of the work?
Key terms include Endemol, Glokalisation, format-trading, media-globalization, and international television standards.
Why are "flying producers" significant to Endemol's strategy?
They act as consultants who ensure that while a format is adapted to local cultural preferences, the core character and quality of the original show are maintained.
What specific difficulty did the "Who wants to be a millionaire?" format face in Egypt?
The format encountered resistance from religious authorities who condemned the show as a sinful form of gambling prohibited under Islamic law.
- Arbeit zitieren
- Mario Ziemkendorf (Autor:in), 2008, Strategies of adaptation and commercialisation from global entertainment tv-formats on the basis of the endemol company, München, GRIN Verlag, https://www.hausarbeiten.de/document/114316
