39 Works

Editorial

Juan Francisco Gutiérrez Lozano, Andrea Esser & John Ellis
Editorial to the issue on "TV Formats and Format Research: Theory, methodology, history and new developments." During the last 15 years format research has grown into a notable, distinct field of academic investigation alongside the dramatic expansion of the trade in TV formats. This special issue of VIEW builds on existing format scholarship to deepen our understanding of the history and the continuing growth of the TV format business from a European perspective

Korsakow Perspective(s)

Franziska Weidle
In “linear documentary land”, we are trained to see stories everywhere we look. As noted by Grasseni and Walter (2014), digital media affordances encourage reflections on this particular “schooling of the eye”, the power relations it is embedded in as well as the creation of counter-practices. Indeed, many artists, media practitioners and scholars advocate interactivity as a different, possibly more “authentic“, representative strategy for documentary. Drawing on my ethnographic study of the Korsakow-System, this paper...

Crossroads. Life Changing Stories from the Second World War

Moniek Hover & Licia Calvi
Crossroads is the name of the concept that narratively connects several WWII-related cultural institutions in Brabant. We were initially looking for ways to connect 4 otherwise very diverse World War II-related institutions (in fact, 3 museums and a commemoration centre) and we found it in this overarching paradigm. Crossroads does not require museums to share their collection items. It offers them instead a tool to build and offer visitors a cohesive experience related to WWII...

Measuring Transnationalism

Edward Larkey, Ibrahim Er & Landry Digeon
This article elucidates a typology for cross-culturally comparing different versions of television formats. Digital tools are used to derive quantitative data based on temporal parameters of episode or genre of the narrative structure, content, and sequencing. Type one, which we also call “transposed narratives,” retains the narrative structure and sequencing while extending and expanding the narrative structure to readjust to longer broadcast times. Type two, which we call ‘transmutated narratives,’ re-distributes and re-organizes the narrative...

Interactive Graphic Journalism

Laura Schlichting
This paper examines graphic journalism (GJ) in a transmedial context, and argues that transmedial graphic journalism (TMGJ) is an important and fruitful new form of visual storytelling, that will re-invigorate the field of journalism, as it steadily tests out and plays with new media, ultimately leading to new challenges in both the production and reception process. With TMGJ, linear narratives may be broken up and ethical issues concerning the emotional and entertainment value are raised...

Meet the Predators

Sabine Baumann & Ulrike Rohn
The TV industry has traditionally relied on advertising and subscription fees for revenue. Recently, brand extensions and co-branding strategies have been rediscovered as income sources. A prominent example of such a strategy is the TV format Dragons’ Den, which has been locally produced in many different countries. We use this intriguing case to explore the extensive and intricate co-branding relationships and brand extensions in the business-to-consumer and the business-to-business settings of TV companies. Our paper...

Will the Sun Rise? Japan’s Limited Role in the Global Format Business

Takeshi Murakoshi
This article illustrates the TV format business in Japan, which has a 60-year history of TV broadcasting and is the second biggest market in the world; however, it is still a small player in the business. The article examines the elements which prevent the international sale of more TV formats and suggests possible solutions. To meet the objectives, this study presents the following research: 1) a questionnaire to ask TV content buyers about the problems...

I’m Sorry I Don’t Have a Story

Adrian Miles
I don’t know what this is, which is a strange place from which to begin. This is unsettling, for as an academic I am trained and acculturated to displaying a certainty of manner — a certainty that many of my students and conference colleagues would attest I have down pat. It begins from Bristol. It begins from Alisa Lebow’s presentation at the 2016 i–Docs conference about her interactive documentary Filming Revolution. It begins from what...

A Transmedia Topology of 'Making a Murderer'

Jolene Mairs Dyer, Danielle Barrios-O'Neill & Alan Hook
This article constructs a transmedia topology of the Making a Murderer text, demonstrating influences of various forms of documentary, interactive gaming culture, and post-digital writing on the series itself as well as on the paratextual cloud of works that grew up around it. Here we define transmedia topology as a tracing of what we could call the geography of the text, as defined by its features and boundaries (or lack thereof). We will discuss the...

Rising Star: a Game-Changing Format in a Dying Genre

Merav Schiffmann
In the TV industry everyone is constantly searching for ‘the next big hit.’ For a brief moment in time, Rising Star perfectly fit this description. Within days of the Israeli launch of the first season, the format had already sold internationally to major territories. Rising Star boasted a first of its kind audience participation and a real-time live experience. This caught the attention of producers, executives and creators everywhere. This was a game-changing concept, set...

Aesthetic Proximity

Jolien Van Keulen
Implications of the transnationalisation of television are often studied by focusing on the localisation of the content of formatted programmes. Although television is essentially an audio-visual medium, little attention has been paid to the aesthetic aspects of television texts in relation to transnationalisation and formatting. Transnationalisation of production practices, such as through formatting, implies a transnational aesthetic. At the same time, aspects of style are specific to place, culture or audience. In this article, the...

Small Change – Big Difference

Matthew Freeman
This article analyses transmedia as a non-fictional social phenomenon, discussing the significance of participation, documentary, and community media. Specifically, the article conceptualises transmedia through the lens of charity politics. To do so, I use the Comic Relief charity campaign in the UK to trace how the socials traditions, ways of life and sensibilities associated with Red Nose Day have evolved into emerging digital technologies to shape this charity campaign across the borders of multiple media...

Aligning Participation with Authorship

Joakim Karlsen
The main contribution of this article is to describe how the concept of non-fiction transmedia has challenged the independent documentary film community in Norway. How the new possibilities afforded by web- and mobile media, with the potential of reconfiguring the current relation between author and audience, has been perceived and performed. Based on an extensive interview study and reflections on contributing to a non-fiction transmedia project, I argue that the emerging practice of making non-fiction...

Emergent Principles for Digital Documentary

Richard Lachman
Digital Documentaries are an area of rapid invention and experimentation at all levels, including creative content, production techniques, and business models. As with many forms of digital storytelling, a focus on technologies can be distracting; platforms change rapidly, and are dependent on external commercial forces rather than creative potential. This article presents several design strategies for driving experimentation in digital documentary above and beyond the specific of platform and technology. The core focus is on...

Remembering Operación Triunfo

Paola Savini
The music format Operación Triunfo (2001–2011), which aired on RTVE for the first time in 2001, started as a television (TV) and musical success in Spain and today is one of the most famous shows around the world as well as an incredible socio-economic phenomenon in Spanish TV. This paper describes the format concept and results. Both commercial and social aspects are introduced to understand why, after 15 years, it is remembered with nostalgia and...

Television Format As a Site of Cultural Negotiation

Heidi Keinonen
Despite the growing number of publications on television formats, specific theorisations regarding formats and format adaptation, in particular, are still rare. In this article, I introduce a synthesizing approach for studying format appropriation. Drawing on format study, media industry research and structuration theory, I suggest that television formats should be understood and studied as a process of cultural negotiation in which global influences and local elements amalgamate on various levels of television culture (i.e., production,...

Transforming 'Female' Programmes

Cecilia Penati
Contemporary Italian digital channels explicitly targeting women (such as Real Time, Lei, Fox Life, La5, and La7d) represent a privileged observatory for some general trends in the international circulation of content and incorporation of foreign formats into national television (TV). In fact, their schedules rely heavily on the genre of factual entertainment, which was first devised and used in international contexts, such as the UK and the US, and only in the second phase was...

Story, History and Intercultural Memory

Marida Di Crosta & Anita Leandro
How can transmedia storytelling benefit to a documentary production in order to give historical archives a second life? Could it possibly help updating official archives, adding to the them amateur’s contributions? We will try to answer the question by recalling some recent European experiences of Web-documentaries linked to television series. This will allows us to extrapolate a few theoretical fundamentals underlying the design of our transcontinental transmedia collaborative project of archive-based documentary – Histories of...

Editorial

Richard Misek, Arnau Gifreu-Castells & Erwin Verbruggen
Editorial to the issue on "Non-Fiction Transmedia". Over the last years, interactive digital media have greatly affected the logics of production, exhibition and reception of non-fiction audiovisual works, leading to the emergence of a new area called ‘interactive and transmedia non-fiction’. While the audiovisual non-fiction field has been partially studied, a few years ago emerged a new field focusing on interactive and transmedia non-fiction narratives, an unexplored territory that needs new theories and taxonomies to...

Critically Acclaimed and Cancelled

Michael L. Wayne
This article uses The Bridge (FX, 2013–2014), an adaptation of the Danish-Swedish series Broen/Bron (SVT1/DR1, 2011-), to explore the ways in which the brand identities of channels shape the adaptation process for scripted television formats. By situating The Bridge in the broader context of FX’s effort to maintain a coherent brand identity, the author argues that producers were not attempting to repurpose Broen/Bron’s narrative for the American audience. Rather, the network wanted to provide its...

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