This book offers a crucial look into the world of these elite purveyors of global popular culture who daily are working to build the global television culture of the future.

Winner of the 2013 SCMS Best Edited Collection Award For decades, television scholars have viewed global television through the lens of cultural imperialism, focusing primarily on programs produced by US and UK markets and exported to foreign markets. Global Television Formats revolutionizes television studies by de-provincializing its approach to media globalization. It re-examines dominant approaches and their legacies of global/local and center/periphery, and offers new directions for understanding television’s contemporary incarnations. The chapters in this collection take up the format phenomena from around the globe, including the Middle East, Western and Eastern Europe, South and West Africa, South and East Asia, Australia and New Zealand, North America, South America, and the Caribbean. Contributors address both little known examples and massive global hits ranging from the Idol franchise around the world, to telenovelas, dance competitions, sports programming, reality TV, quiz shows, sitcoms and more. Looking to global television formats as vital for various cultural meanings, relationships, and structures, this collection shows how formats can further our understanding of television and the culture of globalization at large.

"Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies. In Global TV, Denise D. Bielby and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led to explore the cultural significance of this global trade, and to ask how it is so remarkably successful despite the inherent cultural differences between shows and local audiences."--BOOK JACKET.

Since the beginning of broadcasting, radio and television producers have pushed their shows to audiences in controlled environments that end in a discrete and quantifiable site to be transformed into advertising rates. Today's viewers program their DVR's to create their own viewing schedules, wait to watch entire seasons in marathon DVD viewing sessions and stream shows to their mobile devices. The rise of a curatorial culture where viewers create their own entertainment packages and select from a buffet of viewing options and venues has caused a seismic shift for the traditional television industry. While audiences clamor for more story-driven and scripted entertainment, their new viewing habits undermine the dominant economic structures that fund quality episodic series.Television on Demand examines how we have reached this present moment; and considers the viable future(s) of this crucial culture industry. This leads to an understanding of an empowered audience that realizes its means of control of how it consumes media, as well as a new way of looking at the industry we have traditionally and currently call 'television.'

This comprehensive textbook, now substantially updated for its fourth edition, provides students with a framework for understanding the key concepts and main approaches to Television Studies, including audiences, representation, industry and global television, as well as the analytical study of individual programmes. This new edition reflects the significant changes the television industry is undergoing in the streaming era with an explosion of new content and providers, whilst also identifying how many existing practices have endured. The book includes a glossary of key terms, with each chapter suggesting further reading. New and updated material includes: Chapters on style and form, narrative, industry, and representation and identity Case studies on Bon Appétit’s YouTube channel, Insecure, British youth television, ABC and Disney+, fixed-rig observational documentary, streaming platforms' use of data to shape audience experience, Chewing Gum, Korean drama and The Marvelous Mrs Maisel Sections on medical drama, YouTube creators, Skam and scripted format sales, the global spread of streaming platforms, prestige TV and period drama With individual chapters addressing television style and form, narrative, histories, industries, genres and formats, realities, production, audiences, representation and identity, and quality, this book is essential reading for both students and scholars of Television Studies.

The Routledge Companion to the Cultural Industries is collection of contemporary scholarship on the cultural industries and seeks to re-assert the importance of cultural production and consumption against the purely economic imperatives of the ‘creative industries’. Across 43 chapters drawn from a wide range of geographic and disciplinary perspectives, this comprehensive volume offers a critical and empirically-informed examination of the contemporary cultural industries. A range of cultural industries are explored, from videogames to art galleries, all the time focussing on the culture that is being produced and its wider symbolic and socio-cultural meaning. Individual chapters consider their industrial structure, the policy that governs them, their geography, the labour that produces them, and the meaning they offer to consumers and participants. The collection also explores the historical dimension of cultural industry debates providing context for new readers, as well as critical orientation for those more familiar with the subject. Questions of industry structure, labour, place, international development, consumption and regulation are all explored in terms of their historical trajectory and potential future direction. By assessing the current challenges facing the cultural industries this collection of contemporary scholarship provides students and researchers with an essential guide to key ideas, issues, concepts and debates in the field.

Premiering in 2006,Ugly Betty, the award-winning US hit show about unglamorous but kind-hearted Betty Suarez (America Ferrera),is the latest incarnation of a worldwide phenomenon that started life as a Colombian telenovela,Yo soy Betty,la fea, back in 1999. The tale of the ugly duckling has since taken an extraordinary global journey and become the most successful telenovela to date. This groundbreaking book asks what the Yo soy Betty,la fea/Ugly Betty phenomenon can tell us about the international circulation of locally produced TV fictions as the Latin American telenovela is sold to,and/or re-made-officially and unofficially-for different national contexts. The contributors explore what Betty has to say about the tensions between the commercial demands of multimedia conglomerates and the regulatory forces of national broadcasters as well as the international ambitions of national TV industries and their struggle in competitive markets. They also investigate what this international trade tells us about cultural storytelling and audience experience,as well as ideologies of feminine beauty and myths of female desire and aspiration. TV's Betty Goes Global features original interviews with buyers and schedulers,writers,story editors and directors,including the creator of Yo soy Betty, la fea, Fernando Gaitan

This is the first comprehensive volume to explore and engage with current trends in Geographies of Media research. It reviews how conceptualizations of mediated geographies have evolved. Followed by an examination of diverse media contexts and locales, the book illustrates key issues through the integration of theoretical and empirical case studies, and reflects on the future challenges and opportunities faced by scholars in this field. The contributions by an international team of experts in the field, address theoretical perspectives on mediated geographies, methodological challenges and opportunities posed by geographies of media, the role and significance of different media forms and organizations in relation to socio-spatial relations, the dynamism of media in local-global relations, and in-depth case studies of mediated locales. Given the theoretical and methodological diversity of this book, it will provide an important reference for geographers and other interdisciplinary scholars working in cultural and media studies, researchers in environmental studies, sociology, visual anthropology, new technologies, and political science, who seek to understand and explore the interconnections of media, space and place through the examples of specific practices and settings.

"This book examines the current state of global media distribution today, including legacy and born-digital media industries, and the social, cultural, and economic impact of the digital distribution ecosystem"--

Culture no longer has borders. With the advent of internet sites like Sothebys.com and the increasing reality of globalization, culture itself has gone global. This collection focuses on questions involving national identity, indigenous culture, economic growth, free trade, cultural policy, and global tourism. Global Culture looks at all aspects of the arts including: film, art, music, theater, television, and museums. Global Culture fleshes out how current cultural policies are working and forecasts what we can expect the future landscape of global culture to look like.