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TELEVISION FORMAT ADAPTATION IN A
TRANS-NATIONAL PERSPECTIVE – AN
AUSTRALIAN AND DANISH CASE STUDY
by
Pia Majbritt Jensen
A thesis submitted in fulfillment of
the requirements for the degree of
PhD
Aarhus University, Denmark
2007
T ELEVISION F ORMAT A DAPTATION IN A T RANS - NATIONAL P ERSPECTIVE
TABLE OF CONTENTS
Chapter 1 ............................................................................................................................... 5
Introduction ...................................................................................................................... 5
Chapter 2 ............................................................................................................................. 12
The Television Format, the Trans-national Format Trade & the Internationalisation
of Television .................................................................................................................... 12
What is a television format?....................................................................................... 14
Global and local extent of the television format trade............................................... 16
The structure of the international television format market ...................................... 19
The increasing importance of formats in international television ............................. 21
The advantages of format adaptation ......................................................................... 22
Formats minimise cultural discount........................................................................... 25
Formats are both transparent and opaque .................................................................. 26
Formats amalgamate global and local........................................................................ 27
Regional nuances to the internationalisation of television ........................................ 30
Americanisation and cross-cultural media influences............................................... 34
Central academic positions and perspectives on television formats ......................... 38
Main problems and research questions...................................................................... 45
Chapter 3 ............................................................................................................................. 49
Theoretical Perspectives on Media System & Genre ................................................... 49
M EDIA SYSTEM THEORIES ........................................................................................... 50
Three media system models.................................................................................. 52
The media system, media systemic agents and macro structures ........................ 55
The television format as trans-national production ecology ................................ 61
T ELEVISION GENRE THEORIES ..................................................................................... 65
Why is the concept of genre useful? ..................................................................... 66
Genres as cultural categories................................................................................. 67
Television’s texts................................................................................................... 69
Genre divisions...................................................................................................... 71
Media systemic context of lifestyle and reality television ................................... 73
Lifestyle television ................................................................................................ 75
Reality television ................................................................................................... 78
Lifestyle and reality compared: Small-talk television versus peak realism......... 82
Media system – organisation and genre – schedules and programs..................... 85
Chapter 4 ............................................................................................................................. 86
Methodological Choices & Research Design ............................................................... 86
M EDIA SYSTEM ANALYSIS OF D ENMARK AND A USTRALIA ........................................ 88
I NTERVIEWS WITH INDUSTRY PROFESSIONALS ........................................................... 92
A NALYSES OF PRIMETIME TELEVISION SCHEDULES .................................................. 101
Inspiration for schedule analyses ........................................................................ 101
Main broadcasters, primetime, 1995-2000-2005................................................ 104
Genre divisions.................................................................................................... 108
Sample size and categorisation of programs....................................................... 109
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P IA MAJBRITT J ENSEN
P ROGRAM ANALYSES OF FOUR ADAPTATIONS .......................................................... 111
T WO GENERAL METHODOLOGICAL PROBLEMS ......................................................... 115
Chapter 5 ........................................................................................................................... 117
The Media Systems of Australia and Denmark .......................................................... 117
A USTRALIA AND D ENMARK COMPARED – POSITIONS AND RELATIONS ................... 121
Penetration ........................................................................................................... 122
Diversity .............................................................................................................. 123
Concentration ...................................................................................................... 124
Funding ................................................................................................................ 125
Ownership............................................................................................................ 126
Responsibility and accountability ....................................................................... 126
T HE A USTRALIAN TELEVISION SYSTEM .................................................................... 130
Television market structure................................................................................. 133
History of Australian television .......................................................................... 136
Legislation ........................................................................................................... 140
Content regulation and standards........................................................................ 143
Conclusion: Continuity over change................................................................... 145
T HE D ANISH TELEVISION SYSTEM ............................................................................ 147
Television market structure................................................................................. 148
History of Danish television................................................................................ 152
Legislation ........................................................................................................... 157
Content regulation and standards........................................................................ 159
Conclusion: transition into a ‘bastard’, mixed multi-channel system................ 162
A USTRALIA AND D ENMARK ’ S TELEVISION SYSTEMS : SOCIAL LIBERAL & SOCIAL
DEMOCRATIC ............................................................................................................. 165
Chapter 6 ........................................................................................................................... 169
Impacts of Format Adaptation on Danish and Australian Primetime ..................... 169
D ENMARK ................................................................................................................. 170
DR1...................................................................................................................... 170
TV 2 ..................................................................................................................... 172
TV3 ...................................................................................................................... 175
TvDanmark.......................................................................................................... 179
Summary and perspectives on Denmark in general ........................................... 182
A USTRALIA ............................................................................................................... 186
Channel Seven ..................................................................................................... 186
Channel Nine ....................................................................................................... 190
Channel Ten......................................................................................................... 194
ABC ..................................................................................................................... 197
SBS ...................................................................................................................... 199
Summary and perspectives on Australia in general............................................ 201
D ENMARK AND A USTRALIA COMPARED ................................................................... 205
M EDIA SYSTEMIC EXPLANATIONS ............................................................................ 210
Chapter 7 ........................................................................................................................... 215
“Ground Force” and “Hokus Krokus” ...................................................................... 215
Narrative structure: Australian melodrama versus Danish coolness....................... 217
Audiovisual aesthetics: Direct emotional appeal versus limited emotional appeal 219
The presenters: Australian playfulness versus Danish working partnership .......... 221
Summary: Danish public service and Australian commercial television?.............. 227
Broadcaster and production perspectives................................................................. 229
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T ELEVISION F ORMAT A DAPTATION IN A T RANS - NATIONAL P ERSPECTIVE
Chapter 8 ........................................................................................................................... 236
“The Block” and “Huset” ............................................................................................ 236
Reality meets lifestyle .............................................................................................. 237
Casting – Australian extraordinariness versus Danish ordinariness ....................... 239
Location – Manly and Mejlborg .............................................................................. 240
The first day on The Block and Huset – conflict versus team building................... 241
Summary: Armani versus Kansas............................................................................ 248
Broadcaster and production perspectives................................................................. 250
Chapter 9 ........................................................................................................................... 255
“FC Zulu” AND “Nerds FC” ...................................................................................... 255
Positive and humorous reality.................................................................................. 257
Similarities between FC Zulu and Nerds FC ........................................................... 258
Subtle but important differences .............................................................................. 263
Summary: elitist ironic comedy versus egalitarian serious fun............................... 267
Broadcaster and production perspectives................................................................. 269
Chapter 10 ......................................................................................................................... 273
“Idols” and “Australian Idol” ..................................................................................... 273
Classic reality ........................................................................................................... 275
Similarities................................................................................................................ 277
Differences................................................................................................................ 281
Summary: irreverent reality versus large-scale family entertainment .................... 289
Broadcaster and production perspectives................................................................. 291
Chapter 11 ......................................................................................................................... 296
Conclusions ................................................................................................................... 296
A brief summary.................................................................................................. 297
Media system holds significant explanatory power ........................................... 299
Genre perspective gives important nuances........................................................ 301
Cultural and social mores.................................................................................... 301
Pervasive industry ideologies?............................................................................ 303
Room for methodological improvement............................................................. 304
English Summary ......................................................................................................... 306
Dansk resume ............................................................................................................... 313
Bibliography .................................................................................................................. 319
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P IA MAJBRITT J ENSEN
C h a p t e r 1
INTRODUCTION
Television format adaptation is an increasingly influential practice in television
markets all over the world and the primary analytical object of this thesis.
Format adaptation takes place when a local television market buys a foreign
program concept – the format – and adapts it into a local version. In spite of
the fact that this trans-national format exchange has experienced an
exponential increase in recent years, and in spite of the phenomenon’s close
links to the complex processes of globalisation, which currently are the
subject of a great deal of academic interest, television format adaptation has
until recently remained fairly unnoticed in international media research. In
many cases the internationalisation of television has been perceived as the
increasing trans-national import and export of original programs, and the
adaptations have been either ignored or forgotten.
Nevertheless, format adaptations are particularly interesting in a globalisation
perspective, theoretically as well as methodologically. Theoretically, format
adaptations are interesting because they are a product of globalisation on one
hand but at the same time they often remain very localised on the other. As
such, they are embodiments of the global-versus-local paradox.
Methodologically, they are interesting because the actual format from which
local adaptations are produced is the same no matter what national
broadcaster adapts it. This gives an outstanding methodological opportunity
to investigate television’s globalisation and localisation processes on analytical
objects, whose basic idea is identical in the start-up phase of any national
adaptation but often ends up being executed in very diverse ways during
production.
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