Conveni de col·laboració per a la realització d’un pla director per al desenvolupament d’un parc audiovisual de Barcelona en el recinte de la Zona Franca de la ciutat

Aprovat per l’Ajuntament de Barcelona, el Consorci de la Zona Franca de Barcelona i un grup de productors audiovisuals impulsors del projecte Parc Audiovisual de Barcelona el 17-07-200

The making of an entertainment revolution: How the TV format trade became a global industry

From its humble origins in the 1950s, the TV format industry has become a global trade worth billions of Euros per year. Few viewers are aware that their favourite shows may be local adaptations but formats represent a significant percentage of European broadcasting schedules in access prime time and prime time. Formatted brands exist in all TV genres and reach almost every country in the world. This article defends the thesis that the format business turned into a global industry in the late 1990s. Before this turning point, the few formatted programmes were most likely American game shows that travelled slowly and to a limited number of territories. Following an overview of this early period, this article examines the convergence of factors that created a world format market. These include the emergence of four exceptional formats (Who Wants to Be a Millionaire?, Survivor, Big Brother and Idols), the formation of a programming market, the rise of the independent production sector, and the globalization of information flows within the TV industry

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

Judge Dee (series 1, ep. 10 & 20)

Episodes in a television series with scripts by Robin Mukherjee. Series created by Dudi Appleton and Jim Keeble