91 research outputs found
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Advertising in the global age: Transnational campaigns and pan-European television channels
The first pan-regional satellite TV stations in Europe ran into financial difficulties because too few companies had the interest and ability to run international advertising campaigns. Their financial shape improved with the upturn of the pan-European advertising market in the 1990s. The pool of international advertisers expanded as multinationals adjusted their marketing strategy to the challenges and opportunities of globalization. The advertising industry restructured, creating media buying agencies with specialist knowledge of pan-European television and the network to run transnational advertising campaigns that mix local and global objectives. Pan-European TV stations began to offer flexible local advertising windows and integrated communication solutions involving cross-format and cross-platform opportunities for advertisers
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Producing tv content in a globalized intellectual property market: The emergence of the international production model
This article focuses on the production of transnational TV formats, and argues that a new business model has emerged over recent decades. Whilst many formats are still sold and produced under licence by a third party, leading TV production companies prefer to adapt their own shows in as many markets as possible, a strategy that has led to their internationalization. This article traces back the model's origins and shows how it was pioneered by game-show producers, and adopted by British independent TV production companies and a few European broadcasters, then eventually by several Hollywood studios. This led to the formation of today's 14 international TV production super-groups. This paper then argues that this model emerged in response to the globalization of the intellectual property market that was created by the TV format revolution. It was this revolution that spawned a market for intangibles such as programming concepts and production expertise, which today cross borders as much as finished programmes. This paper shows how the market has expanded a TV format's value chain, and how TV production companies have needed to develop their international capabilities in order to retain control of the chain. An international production network enables them to generate, exploit and protect intellectual property on a global scale
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Reflection i: Transnational TV Formats: Making the Local Visible and the Global Invisible
This short reflection contends that formats make ‘the local visible and the global invisible’—just like football games and the FIFA rules and regulations that shape them globally. Second, it is argued that formats are successful internationally only if they resonate with an audience in each and every market in which they air. Finally, Lascia o Raddoppia? (Leave It or Double It, 1955-59) is used as an example to demonstrate that format adaptations can have genuine local impact, in this case, contributing to Italy's linguistic and cultural unification
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Outsourcing in the UK television industry: A global value chain analysis
The aim of this study is twofold. First, it identifies outsourcing as a growing trend in the media industries: as leading media corporations integrate vertically and invest in segments that increase their asset specificity, they are also withdrawing from other segments and delegating a growing number of tasks to suppliers. This article uses the United Kingdom as a case study to demonstrate that while broadcasters are investing in TV content production, they are also stepping away from technology investments and media delivery tasks. It is a significant phenomenon that contributes to redefine the scope of companies whose engineering know-how was part of their core activity. Then, this article analyses the consequences of outsourcing as it contributes to vertical disintegration and the formation of global value chains in the media industries. It is also creating power asymmetries between lead firms and suppliers that have an impact on the type of M&A activities these companies pursue . The second contribution is theoretical in scope, as this article aims to state a case for GVC analysis in media and communication studies, showing the benefits of placing the evolution of the media industries in the context of long-term trends in the world economy
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Hedging against disaster: Risk and mitigation in the media and entertainment industries
The objective of this article is twofold. First, it seeks to identify and classify the most likely sources of potential loss for media and entertainment businesses. Adopting the World Bank’s definition of risk as a ‘possibility of loss’ and opportunity as the ‘upside of risk’, this article constructs a typology of risks that are categorized in seven types: catastrophic, financial, regulatory, technological, intellectual property (IP) related, value chain related and commercial. Combining this typology with a review of the most common risk mitigation strategies, this article demonstrates that risk management is central to the way media firms operate and has a determining influence on their output. Risk analysis, therefore, offers us a better understanding of corporate strategies in the media and entertainment industries both in terms of management and content
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Can a GVC-oriented policy mitigate imbalances in the world media system? Strategies for economic upgrading in the TV format global value chain
The TV format business has evolved rapidly since the formation of a TV format global trading system at the turn of the millennium, but one notable feature has stayed the same: the UK has remained the world’s leading exporter. Considering that the UK used to be a net importer of (US) TV formats, it is a remarkable turn of fortune that begs two questions: what lies behind it and can the recipe be applied elsewhere? This article argues that British broadcasting policy helped build a local TV production sector that excels at export, and that this policy contains the key elements of a GVC [global value chain]-driven policy. Collecting evidence in the Middle East, Israel and South Africa, this article demonstrates the benefits of such a policy and outlines its key dimensions. Using the TV format trade as a case study, this article acknowledges that the world media system is unbalanced, but contra the cultural imperialism thesis and critical political economy theory, it argues that developing countries can take measures to build the capacity of their creative industries and, in particular, get local TV producers to participate more actively in the TV content GVC
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At the Origin of a Global Industry: The TV Format Trade as an Anglo-American Invention
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Beyond Nation-Centrism: Thinking International Communication from a Cosmopolitan Perspective
This article begins with a historical overview of international communication and an evaluation of the successive paradigms that have dominated the discipline: modernization theory in the 1950s and 1960s, cultural imperialism in the following two decades and, more recently, the globalization paradigm. It examines the impact of the economic and the political factors on the discipline, focusing on the overwhelming influence of the Cold War. It is argued that the conflict locked the discipline into a national perspective that began to be deconstructed only when the structure of international relations changed in the 1990s. Today, it is apparent that a nation-centric discourse cannot comprehend contemporary trends in international communication, and it is suggested that the discipline adopts Ulrich Beck’s cosmopolitan methodology in order to ascertain its epistemological shift towards a postnational perspective.
In the second part, this article applies the cosmopolitan methodology to the understanding of contemporary international communication flows.It is argued that globalization and technology are remapping media spaces, shaping new media practices and products and contributing to the emergence of a transnational media order. This order is analysed through four key features that characterize it: transnationalization (the intensification of trans-border
media flows), individualization (users’ growing access to international communication tools), deterritorialization (the disconnection between place and culture) and cosmopolitization (the changing relationship between the local and the global. It is contended that these new media spaces and processes are not only transforming international communication, but also national media
systems from within and reshaping them with transnational connectivity
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Broadcasting in a Post-National Environment: The Rise of Transnational TV Groups
This article argues that the transnational shift that began in the late 1990s is reconfiguring the European television marketplace. This shift is characterized by the emergence of transnational TV networks, international TV formats and multinational TV groups. This paper analyses this mutation and argues that they are best comprehended using Ulrich Beck’s cosmopolitan perspective.
This article then turns its attention to the development of multinational TV groups, showing how they first struggled in the 1990s to eventually claim the top positions in Europe’s pecking order of broadcasters. It analyses the factors that brought this transformation and presents an overview of the leading multinational players, distinguishing between the (predominantly) free-to-air TV groups that derive the bulk of their income from advertising, cable and satellite broadcasters that have a business model based on a variety of revenue streams, and TV production companies. Finally, this article outlines the concept of transnational integration and shows how a corporate transnational structure can help generate synergies and foster creativity
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