Creating TV Formats: From Inception to Pitch takes the reader through a step-by-step process of how to generate ideas, develop story lines and characters and hook an audience, whilst staying aware of the realities of the media landscape. Beginning with a discussion about what a TV format is, each chapter then introduces a key aspect of the development process, such as looking for ideas, shaping the underlying story and thinking about participants. Practical exercises guide the reader through each stage of turning an initial idea or subject matter into a hook or insight; the importance of incorporating storytelling principles and techniques for designing and populating a story world. Examples from successful television formats such as First Dates and The Great British Bake Off are interwoven throughout the book alongside exclusive insights from the key industry professionals who brought them to the screen. From short-form digital content to longer unscripted series, this is an essential guide to discovering and developing formats for any media or television production student or early career development professional.

This volume presents a series of papers concerned with the interrelations between the postmodern and the present state of art and design education. Spanning a range of thematic concerns, the book reflects upon existing practice and articulates revolutionary prospects potentially viable through a shift in educative thinking.

Recent years have seen an astonishing growth in the adaptation of program formats in television systems across the world. Under the new market conditions of the multi-channel cluster brought about by new technologies and increased privatization of service, the adaptation of successful and popular TV formats from one place to another is occurring on an increasingly regular basis. Hence, the remaking of different national versions of Big Brother and Pop Idol are only part of what is going on. In fact, from Chinese versions of Coronation Street and Sex and the City, Indian and Indonesian remakes of Who Wants To Be A Millionaire?, program clones of Ground Force and other make-over and renovation shows across Europe and the UK, the present is the era of the global TV format. But what exactly is a format? After all, programs have been copied and imitated since the beginnings of broadcasting. In this, the first book in the English language to systematically deal with the subject, Albert Moran and Justin Malbon provide a valuable guide to the institutional, cultural and legal dimensions of the format. Now widely referred to although equally often misunderstood, the TV format is a commodity of production, finance, distribution, broadcasting and marketing knowledges, that is facilitating the international reconfiguration of program making. Understanding the Global TV Format thus addresses the different stages and issues of the business. It tracks the steps whereby formats are devised, developed and distributed. Major companies are profiled as are the international markets and festivals at which trade occurs. However, there is also a great deal of piracy taking place so that the book is concerned with the control and regulation of format remaking. Legal protection is often both the first and last recourse of parties and the authors examine the relevance of laws relating to such matters as copyright and contract.

The past twenty years have seen major changes in the ways that television formats and programming are developed and replicated internationally for different markets--with locally focused repackagings of hit reality shows leading the way. But in a sense, that's not new: TV formats have been being exported for decades, with the approach and methods changing along with changes in broadcast technology, markets, government involvement, and audience interest. This book brings together scholars of TV formats from around the world to analyze and discuss those changes and offer an up-to-the-minute analysis of the current state of TV formats and their use and adaptation worldwide.

Between 1948 and 1955, nearly two-thirds of all American families bought a television set—and a revolution in social life and popular culture was launched. In this fascinating book, Lynn Spigel chronicles the enormous impact of television in the formative years of the new medium: how, over the course of a single decade, television became an intimate part of everyday life. What did Americans expect from it? What effects did the new daily ritual of watching television have on children? Was television welcomed as an unprecedented "window on the world," or as a "one-eyed monster" that would disrupt households and corrupt children? Drawing on an ambitious array of unconventional sources, from sitcom scripts to articles and advertisements in women's magazines, Spigel offers the fullest available account of the popular response to television in the postwar years. She chronicles the role of television as a focus for evolving debates on issues ranging from the ideal of the perfect family and changes in women's role within the household to new uses of domestic space. The arrival of television did more than turn the living room into a private theater: it offered a national stage on which to play out and resolve conflicts about the way Americans should live. Spigel chronicles this lively and contentious debate as it took place in the popular media. Of particular interest is her treatment of the way in which the phenomenon of television itself was constantly deliberated—from how programs should be watched to where the set was placed to whether Mom, Dad, or kids should control the dial. Make Room for TV combines a powerful analysis of the growth of electronic culture with a nuanced social history of family life in postwar America, offering a provocative glimpse of the way television became the mirror of so many of America's hopes and fears and dreams.

Since the late 1990s, when broadcasters began adapting such television shows as Big Brother, Survivor, and Who Wants to Be a Millionaire? for markets around the world, the global television industry has been struggling to come to grips with the prevalence of program franchising across international borders. In TV Format Mogul, Albert Moran traces the history of this phenomenon through the lens of Australian producer Reg Grundy’s transnational career. Program copycatting, Moran shows, began long before its most recent rise to prominence. Indeed, he reveals that the practice of cultural and commercial cloning from one place to another, and one time to another, has occurred since the early days of broadcasting. Beginning in the late 1950s, Grundy brought non-Australian shows to Australian audiences, becoming the first person to take local productions to an overseas market. By following Grundy’s career, Moran shows how adaptation and remaking became the billion-dollar business they are today. An exciting new contribution from Australia’s foremost scholar of television, TV Format Mogul will be a definitive history of program franchising.

A professional TV writer's real-world guide to getting paid to write great television "No need for me to ever write a book on TV writing. Alex Epstein has covered it all . . . along with a few things I wouldn't have thought of. Save yourself five years of rookie mistakes. Crafty TV Writing and talent are pretty much all you'll need to make it." —Ken Levine, writer/producer, MASH, Cheers, Frasier, The Simpsons, Wings, Becker Everyone watches television, and everyone has an opinion on what makes good TV. But, as Alex Epstein shows in this invaluable guide, writing for television is a highly specific craft that requires knowledge, skill, and more than a few insider's tricks. Epstein, a veteran TV writer and show creator himself, provides essential knowledge about the entire process of television writing, both for beginners and for professionals who want to go to the next level. Crafty TV Writing explains how to decode the hidden structure of a TV series. It describes the best ways to generate a hook, write an episode, create characters the audience will never tire of, construct entertaining dialogue, and use humor. It shows how to navigate the tough but rewarding television industry, from writing your first "spec" script, to getting hired to work on a show, to surviving—even thriving—if you get fired. And it illuminates how television writers think about the shows they're writing, whether they're working in comedy, drama, or "reality." Fresh, funny, and informed, Crafty TV Writing is the essential guide to writing for and flourishing in the world of television.

"Addressing the issues that managers in the multimedia industry have confronted while developing and implementing this innovative technology, this book focuses on the latest research and findings in digital television technologies. Covered are the major issues surrounding digital convergence including the digital metamarket and new digital media devices and their potential for IT convergence at the macro level. Also addressed are multimedia and interactive digital television and the economic implications of these technologies. Additionally, the managerial implications of interactive digital television are covered, including branding strategies for digital television channels and the critical role of content media management."

An Introduction to Global Media for the Twenty-First Century provides a thorough introduction to the field of global media today. The book presents the key changes taking place as the global media landscape evolves, and the main theories of the field, that explain these developments. Tracing, first, the formative development of an international and global media landscape throughout the 20th century from the telegraph, television and film export, and transnational television to the Internet, the book then focuses on developments in the 21st century. This includes: the digitization of the global media and communications sector; the popularization of the Internet and digital infrastructure such as the smartphone and platforms; the emergence of global online media and services; the production and distribution of digital media content; and the exploitation of user data. Case studies illustrate key developments throughout the book. The book shows how the field is characterized by a continuity of critical concerns in relation to power, influence, and domination; media user empowerment and exploitation; and social and sustainable development and democratic conditions, as well as geopolitical shifts, in a global context.

"This is the first English language book to deal with the development of the TV format business. It is a definitive history of programme franchising. It is written by Australia's foremost ethnographer and historian of television. It shows how production adaptation and remaking became the billion-dollar business it is today through the lens of Australian producer Reg Grundy. Since the late 1990s, when broadcasters began adapting such television shows as "Big Brother", "Survivor", and "Who Wants to Be a Millionaire?" for markets around the world, the global television industry has been struggling to get to grips with the prevalence of programme franchising across international borders. The practice of cultural and commercial cloning from one place to another, and one time to another, has been happening since the early days of broadcasting but how did program adaptation and remaking get underway and become the billion-dollar business it is today? In "TV Format Mogul" Albert Moran traces the history of this phenomenon through the lens of Australian producer Reg Grundy's transnational career. Beginning in the late 1950s, Grundy brought non-Australian shows to Australian audiences, becoming the first person to take local productions to an overseas market. By following Grundy's career, Moran shows how adaptation and remaking became the billion-dollar business they are today."--BLACKWELL'S.