The television program industry has expanded immensely, and with the transnational concept they have been able to use similar methods and still conquer the TV world with an increase of revenue with minimal effort. Transnational is considered as recreating a program and relating it to a different culture. This description of the creative act as the impulse to recreate that which has already been experienced in some way, whilst, at the same time, the desire to speak to those things through their invocation, bears renewed significance when considered in relation to the recycling and repurposing of drama formats in the context of the contemporary TV industry (Christopher Hogg, 2013). Amongst all of these, Hogg (2013) has stated that there are considered “three key genres of the format trade”, reality, factual entertainment and talent competitions with only the alteration of ‘flesh’ of the program, not the ‘skeleton’. As, utilising these formats allows other nations to adapt successfully to their own cultural influence and context.
Hogg also suggests that a successful format consists of an organised narrative, that avoids scripted entertainment however produces the “highs and lows, tensions and conflicts, twist and conventions of drama”. For example, the narrative arc for talent shows, such as ‘X-Factor’ is based on the connection of viewers, the contestant’s journey, and their involvement in the show, as popular culture creates an alliance with audiences as advocates for everyday people, against the abuse of power found among the elites (Enli, 2009). Nonetheless, each program is specified to draw a strong connection by appealing to a person’s emotions. Observing the transformation of an average person to stardom of who someone is favoured by any nation. However, the breakdown of the show into different nations creates a more intimate connection. Overall, programs such as ‘Got Talent’, ‘Big Brother, and ‘Survivor’ possess “an international format [which] is geared up to hit specific points throughout the narrative.” (Jean Chalaby, 2011). Furthermore, reality TV employs trigger moments such as unanticipated change in storylines or evictions to maintain the audience’s interaction, however, it is applicable to be redeveloped into another nation’s version of the program. That’s the idea of the international format, as the programs produce similar narratives, they rely on the contestant’s culture and behaviour to present a different reaction.
TV producers and directors are employing the television concept, transnational, more frequently now than ever, as it has skyrocketed profits with less creative direction. In 2012, the top 100 formats generated US$2.7 billion for 84 channels across 16 European territories, with Money Drop alone generating US$213million. In addition, such shows not only become returning brands for channels, but become part of their identity and help them to build their profile (Chalaby, 2015). This global success has prompted other producers to develop more content, capable of potential transnational, as during this century, programmes have been adapted into more nations than ever before, generating a higher amount of revenue for broadcasters. “A recognized entertainment format will raise a company’s profile and, as it develops international scale, will boost the company’s profit margins” (Chalaby, 2015). Since the 2000s, reality TV, more specifically, competition type shows, have become a common popular culture artefact internationally. ‘Masterchef’, ‘Who Wants to be a Millionaire?’ and ‘Wheel of Fortune’ as a few examples. They are relatable to viewers as majority are ordinary people, just like them, searching for a life-changing journey and or experience. By analysing content and making it applicable to expand across different cultures, the TV format becomes a successful transnational trading system, in which creates a strong brand, and higher profit intake, without the stress of wondering if it’ll be a success amongst viewers.
References:
- Chalaby, JK 2011 “The making of an entertainment revolution: How the TV format trade became a global industry”, European Journal of Communication, vol. 26, no. 4, pp. 293-309
- Chalaby, JK 2015 “The advent of the transnational TV format trading system: a global commodity chain analysis”, Media, Culture& Society, vol. 37, no.3, pp. 460-478
- Enli, G.S. 2009, ‘Mass Communication Tapping into Participatory Culture’, European Journal of Communication, vol. 24, no. 4, pp. 481-493.
- Hogg, C 2013, “Cracking the USA? Interpreting UK-to-US TV Drama Translations”, new Review of Film and Television Studies, vol. 11, no.2, pp. 111-132