Drama without drama: The late rise of scripted TV formats

This article revisits the history of TV formats - concepts of TV shows that are licensed for local adaptations – focusing on scripted entertainment. While the TV format revolution of the 1990s bypassed scripted formats, they have been catching up in recent years. This paper analyses both the reasons for this late rise and the factors behind the recent growth. It argues that the adaptation of scripted formats is more complex and risks remain higher than for other genres. The underlying economics of their production and distribution also differs from non-scripted formats. Stars came together when demand for drama increased worldwide, Hollywood studios began to mine their catalogues, new exporters and scripted genres emerged, and knowledge transfer techniques improved. Finally, this paper analyses the significance of the rise of scripted entertainment in the global TV format trading system

The rise of britain's super-indies: Policy-making in the age of the global media market

This article analyses Britain’s remarkable performance in the European television industry. In the space of a few years the UK has risen to become the world’s leading exporter of TV formats and the world’s second exporter, behind the Unites States, of finished TV programmes. The first section compares and contrasts British TV exports data with that of France, before examining the emergence of London as Europe’s media hub. The second part argues that this significant progress is essentially due to deft policy making. In 2003, the British government operated a strategic shift in favour of content producers and created a new intellectual property regime. This regime has enabled producers to keep hold of their rights and become asset-owning businesses, eventually giving rise to a new breed of production companies: the super-indies. This paper shows how these super-indies have acquired the scale to compete in an international TV market and drive today’s British TV exports. Contrasting again Britain’s performance in the European TV trade with France, this article also analyses historical influences and claims it is Britain’s imperial past that helps her performance in the European TV marketplace. In addition to the globalization of the English language and the cultural affinities this nurtures, the trading heritage of the British Empire has facilitated Britain’s political elite’s understanding of the role that trade and the market can play in the creative industries, and enabled them to frame a broadcasting policy that is adapted to the global age