This essay addresses the topic of format adaption. The definition of a format, the development history as well as the role of format adaption in the global and local media landscape will be examined. The main focus will lay on the question if and how format adaption has influenced the media world and why formats are so successful. These questions will be linked to the cultural imperialism and globalisation discourse. The theoretical construct will be complemented by the example of Big Brother to clarify the most important aspects of the argumentation. A discussion of this topic is valuable because the arguments raised in the positioning of format adaption reflect the general point in the media imperialism (critique) and globalisation debate.
Table of Contents
1. Introduction
2. Format adaption.
3. Format adaption-global or local?
4. Big Brother
5. Conclusion
Objectives and Topics
This essay explores the mechanisms of format adaptation in the global television industry, examining how standardized programming concepts are modified to fit local cultural contexts. It aims to address whether these adaptations contribute to cultural homogenization or if they allow for the continued expression of national and local identities, using the reality show Big Brother as a primary case study.
- Developmental history of television formats and the "McTelevision" concept.
- Economic and strategic drivers behind the rise of format adaptation.
- The intersection of cultural imperialism, globalization, and local identity.
- Comparative analysis of national Big Brother adaptations across different cultures.
- The tension between global commercial standardization and domestic media production.
Excerpt from the Book
Big Brother
One argument in support of the theory that format adaptions do not undermine national and local culture but rather display it because they are local adaptions is based on the comparison of the different national adaptions. Shows like Big Brother, Temptation Island, Survivor &Co. all belong to the group of ‘Reality Game Shows’ and account for the most important genre in format adaption. Therefore the Reality-TV show Big Brother is selected as an example to illustrate these arguments. Six different national adaptions were chosen to clarify the above discussed aspects: Big Brother in Australia, Brazil, Italy, Netherlands, Turkey, and South Africa. The Netherlands are the ’fatherland’ of Big Brother whereas the other selected countries display some specific characteristics in their adaption connected to their culture.
Big Brother first aired 1999 in the Netherlands and has been developed by Jon De Mol, owner of the company Endemol. Adaptions of the format have been ordered from over 40 countries of which many purchased second and third runs and the format was broadcasted in 69 countries. A homogenisation can not only be seen in the format adaption itself but also the controversial public discussion which preceded the first run of the show in most countries. Generally the local production companies not only were successful with the adaption of Big Brother but airing the show also helped their corporate identity.
Summary of Chapters
1. Introduction: Outlines the scope of the essay, defining format adaptation and establishing the connection to cultural imperialism and globalization discourse.
2. Format adaption.: Examines the historical development and economic motivations behind the global trade of television formats, including the "franchising" business model.
3. Format adaption-global or local?: Analyzes the theoretical debate regarding cultural homogenization versus heterogenization, highlighting how local adaptation mediates these global forces.
4. Big Brother: Provides a comparative case study of how the Big Brother format is culturally adapted in different nations, such as Australia, Brazil, Italy, Turkey, and South Africa.
5. Conclusion: Synthesizes findings, emphasizing that while the format industry is globally structured, it remains dependent on successful local integration to survive.
Keywords
Format adaptation, Globalization, Television industry, Cultural imperialism, Big Brother, Homogenization, Heterogenization, McTelevision, Reality television, Transnational media, Local identity, Media flows, Endemol, Glocalization, Franchising.
Frequently Asked Questions
What is the primary focus of this essay?
The essay examines the phenomenon of "format adaptation" in television, specifically looking at whether this global business model standardizes culture or allows for local cultural expression.
What are the key themes addressed?
The main themes include the globalization of media markets, the economic logic of low-risk format purchasing, and the role of national culture in shaping television content.
What is the central research objective?
The goal is to determine how format adaptation influences the global media landscape and why these standardized formats have become so successful across diverse international markets.
What methodology is used in the study?
The author uses a qualitative approach, combining literature review on globalization theories with a comparative case study analysis of the reality show Big Brother.
What does the main body cover?
The body covers the definition and history of formats, the "franchising" business model, the theoretical debate on media imperialism, and specific country examples of adaptation.
Which keywords best characterize the work?
Key terms include format adaptation, globalization, cultural imperialism, homogenization, and reality television.
How does the author explain the success of "McTelevision"?
The author explains that the "McTelevision" model provides a ready-made "construction kit" that offers broadcasting companies efficiency, predictability, and reduced financial risk.
What did the "Big Brother" case study reveal about local culture?
The case study revealed that despite the standardized format, local adaptations effectively reflected national traditions, such as Turkish poverty discourse or Italian television celebrity culture.
What is the "FRAPA" and why was it established?
FRAPA (Format Recognition and Protection Association) was established in 2000 to protect formats from plagiarism and ensure fair trade in an increasingly globalized television market.
- Arbeit zitieren
- Nina Ratavaara (Autor:in), 2009, Format adaption global or local?, München, GRIN Verlag, https://www.hausarbeiten.de/document/178932
