By Joost de Bruin, Koos Zwaan
Because the first sequence of dad Idol aired within the united kingdom simply over a decade in the past, Idols tv exhibits were broadcast in additional than 40 international locations around the world. In all these nations the worldwide Idols layout has been tailored to neighborhood cultures and creation contexts, leading to a plethora of alternative models, starting from the Dutch Idols to the Pan-Arab tremendous big name and from Nigerian Idol to the foreign blockbuster American Idol. regardless of its all over the world luck and common journalistic assurance, the Idols phenomenon has obtained purely restricted educational attention.Adapting Idols: Authenticity, identification and function in an international tv structure brings jointly unique reports from students in numerous components of the realm to spot and assessment the effective dimensions of Idols. As one of many world's so much winning tv codecs, Idols bargains a different case for the examine of cultural globalization. Chapters talk about how Idols indicates deal with specific nationwide or neighborhood id politics and the way Idols is ate up through audiences in several territories. This ebook illustrates that although a similar tv layout is utilized in international locations all around the globe, practices of model can nonetheless lead to the production of distinctive neighborhood cultural items.
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Paperback: 255 pages
Publisher: 3 Rivers Press; 1st variation (April thirteen, 1989)
Product Dimensions: eight. eight x 6 x zero. 7 inches
Shipping Weight: 12. eight oz
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Extra info for Adapting Idols: Authenticity, Identity and Performance in a Global Television Format
The Idols producers prefer to use market-based strategies to solve format disputes, rarely depending on tradable intellectual property rights such as copyright. Using legal means to counter format imitators is considered resource intensive while judicial inconsistency in format disputes reinforces the industry view that a negative decision in the courts indirectly encourages more format imitations. Relationships and trust are important in the industry and gentlemen’s agreements are still considered the cornerstone of global television business, where large companies have started respecting each other’s format ideas.
The second group takes its lead from the discipline of marketing. It involves floating possible formats through tape sales of the large and successful Idols productions, localization of format elements, and crucially, providing a distinct brand identity while at the same time constantly evolving the brand so that it becomes harder to imitate. Merchandising and other product tie-ins also fall within this group. The use of trademark law to protect titles and logos of the show is the complementary legal strategy.
This case study was conducted as the third phase of a more complex research design. The first phase (which is not reported here) created a database of 59 format disputes between 1987 and 2007 (for an overview see http://tvformats. uk). As a result of an analysis of these disputes and decisions, and after reviewing the literature offering possible explanations of increasing trade despite a low protection regime, 32 interviews were conducted in the second phase of the research with media sellers and buyers at three international television trade fairs (Discop East Budapest in June 2008, Asia Television Forum Singapore in December 2008 and NATPE Las Vegas in January 2009).