Everyone who is familiar with the current television landscape can probably name at least one or two TV programs of which they know there are other versions of the same programs broadcasted in other regions of the world. To name only a few, there are quiz and game shows, such as Who Wants to Be a Millionare? or Wheel of Fortune, reality shows, such as Big Brother or The Bachelor, but also drama programs, such as Coronation Street or The Restless Years. Different versions of the same program often show striking similarities in their basic structure, they might have similar narratives and characters, or even convey the same values; yet they have a local coloring from the region where they are produced through local participants or actors, plotlines based on local problems or local cultural references. This is caused by the fact that the different versions of one program stem from the same format that originated in one cultural environment, was taken over into other regions and adapted to the local backgrounds. This process of deterritoralizing TV formats by using a foreign format and producing a local version of it is called transnational TV format adaptation.
The reason why there is an increase in transnational format adaptations and why consumers are aware of that is because of the continuing globalization of media communication, meaning the advanced exchange of products, practices and ideas through progressive technology (Hepp 2006: 9f.). While being a result of globalization, however, format adaptations are produced in local contexts “integrating ‘local’ content in various ways” (Machin/Leeuwen 2007: 1f.). By combining parts of different cultures they are neither completely global nor local products but rather examples a transnational media landscape (cf. Jensen 2007: 5, 13). Although “the prac-tice is not new and can be traced back to the radio”, research focused more on transnational program sales or co-productions, and format adaptation has only come to the center of atten-tion in research in the past 15 years (see Moran 1998, Moran/Malbon 2006, Jensen 2007).This is why this topic has aroused my interest and will be the topic of this paper.
Table of Contents
1 Introduction
2 Definitions: (Transnational) Television Formats and the Circuit of Media Culture
3 Transnational Format Adaptations in the „Circuit of Media Culture“
3.1 Production: Globalization and Format Trade
3.2 Representation: Cultural Imperialism vs. Diversity
3.3 Appropriation: Identification with Local Aspects
4 Case Studies: Comparison of the Representation in The Office and Stromberg
4.1 Genre and Format
4.2 Narrative Structures and Background Information
4.3 Methodology
4.4 Comparison of the Pilot Episodes in Seven Categories
4.4.1 Storyline
4.4.2 Setting and Workplace Culture
4.4.3 Characters and Constellations
4.4.4 Linguistic Aspects
4.4.5 Cultural References and Intertextuality
4.4.6 Political Correctness and Discrimination
4.4.7 Humor
5 Conclusion
Objectives and Research Themes
This paper explores the mechanisms of transnational television format adaptation, focusing on how a core media concept is hybridized when transferred to a different cultural context. By analyzing the "circuit of media culture," the study investigates the representational shifts that occur between an original production and its local adaptation.
- Mechanisms of transnational TV format adaptation.
- Theoretical application of the "circuit of media culture."
- Comparative analysis of the mockumentary genre.
- Cultural hybridization vs. cultural homogenization.
- The impact of local contexts on humor and character representation.
Excerpt from the Book
4.1 Genre and Format
The format of The Office and Stromberg is generally classified under the genre of comedy. Yet, its particular subgenre is a rather seldom one: mock-documentary or mockumentary. As the name suggests a mockumentary is a hybrid TV genre that can be described as “fictional texts which in some form ‘look’ like documentaries. These texts tend to appropriate certain documentary modes, as well as the full range of documentary codes and conventions” (Roscoe/Hight 2001: 49). Mast (2007) explains that they are characterized by “fictional content” that is turned into a media product by using “style and techniques that are conventionally attributed to non fiction discourse (e.g., voice over commentary, interview segments, handheld camera)” (233). Due to the “fake reality”, the viewer gets the feeling that the characters actually exist and the plot is real, even though it is scripted and the characters are played by actors. This method brings the plot closer to the viewer than other fictional genres do, and makes it more authentic.
Hence, it results in a higher level of identification with the figures because they are represented as men and women that could be part of every viewer’s circle of friends and family. Mockumentaries are characterized by irony and “satirical treatment or critique of an issue” (Campbell 2007: 53). In doing so, this genre “undermines the documentary’s claim to objectively tell the truth” and goes in a rather “subversive direction” (ibid.). While the mockumentary is considered a rather young genre, it has yielded some popular programs such as This is Spinal Tap, Borat or The Blair Witch Project.
Summary of Chapters
1 Introduction: This chapter defines the scope of transnational format adaptation and sets the research question regarding how original formats are hybridized in local versions.
2 Definitions: (Transnational) Television Formats and the Circuit of Media Culture: Provides a conceptual foundation by defining TV formats and outlining the "circuit of media culture" framework used for the analysis.
3 Transnational Format Adaptations in the „Circuit of Media Culture“: Discusses the three levels of production, representation, and appropriation, with a primary focus on how representational choices influence audience identification.
4 Case Studies: Comparison of the Representation in The Office and Stromberg: Conducts a detailed comparative analysis of the British and German versions, focusing on seven key categories ranging from storyline to humor.
5 Conclusion: Summarizes the findings, confirming that the German adaptation successfully hybridized the original British format by incorporating local cultural peculiarities.
Keywords
Transnational Format Adaptation, Mockumentary, Circuit of Media Culture, Glocalization, Hybridization, Cultural Imperialism, Representation, The Office, Stromberg, Television Studies, Media Studies, Cultural Adaptation, Audience Identification, Comedy, Comparative Media Analysis.
Frequently Asked Questions
What is the core focus of this research?
The work examines how television formats are adapted for international markets, specifically comparing the British series The Office with its German counterpart, Stromberg.
What are the primary themes explored?
Central themes include the globalization of media, the process of "glocalization," the role of cultural context in comedy, and the representational differences between original and adapted media products.
What is the central research question?
The study seeks to identify the similarities and differences in the representation of two versions of the same format and how the adapted version incorporates local content.
Which scientific methodology is applied?
The author uses the "circuit of media culture" model and an inductive, comparative analysis of the pilot episodes of both programs across seven specific categories.
What does the main body cover?
It provides a theoretical overview of format trading, followed by a systematic comparison of the two shows regarding storyline, setting, character constellations, linguistics, cultural references, political correctness, and humor.
Which keywords define this study?
Key terms include Transnational Format Adaptation, Glocalization, Hybridization, Mockumentary, and Cultural Representation.
How does Stromberg differ from The Office regarding humor?
While both shows use awkward social situations, the humor in Stromberg is described as more overt, aggressive, and scandalizing, whereas the humor in The Office is characterized as more subtle and macabre.
Why did the author specifically choose Stromberg for the comparison?
The author selected Stromberg because it is one of the few adaptations not developed under the direct supervision of the original creators, making the comparison of its "hybridized" elements more distinct and independent.
- Citation du texte
- Bachelor of Arts Sophia Schulze (Auteur), 2012, Transnational Format Adaptation, Munich, GRIN Verlag, https://www.grin.com/document/270968
