Der internationale Handel mit Lizenzrechten wird seit langem durch US-amerikanische Medienunternehmen kontrolliert. Diese Dominanz und das damit einhergehende, stetig größer werdende Handelsbilanzdefizit der EU bereitet einigen Beobachtern große Sorge. Die Vormachtstellung von US-amerikanischen Programmen birgt offensichtliche kulturelle Konsequenzen, als Fernsehen und Film eine große soziale Bedeutung für die Kultur, die Förderung der Staatszugehörigkeit und der Selbstbestimmung eines Landes haben. Nichtsdestotrotz existiert bis zum jetzigen Zeitpunkt keine effiziente Strategie, um eine erfolgreiche europäische Programmindustrie aufzubauen. Eine derartige Entwicklung muss in erster Linie grundlegende Prinzipien und Ziele definieren. Zum jetzigen Zeitpunkt gibt es weltweit nur das Geschäftsmodell Hollywoods für Filme und Serien, das weltweit akzeptiert und erfolgreich ist. Es stellt sich daher die Frage, inwiefern sich eine europäische Programmindustrie von diesem globalen Standard unterscheiden kann, um sich einerseits abzugrenzen, sich jedoch andererseits auch nicht ins Abseits zu stellen. Das inhaltliche Ziel künftiger Produktionen muss sein, europäische Werte und Traditionen zu behandeln und gleichzeitig eine gewisse Universalität zu vermitteln.
Diese Diplomarbeit untersucht den Status Quo der europäischen Programmindustrie und analysiert die Vormachtstellung Hollywoods mithilfe von MICHAEL E. PORTERS „Competitive Advantage“ Konzept. Darüber hinaus wird die Nachhaltigkeit der aufgezeigten Wettbewerbsvorteile bewertet. Von diesen Umständen ausgehend werden die Anforderungen für international verwertbare europäische Filme und Serien aufgezeigt: der Fokus auf ein internationales Publikum, ein universeller Inhalt, und ein Produktionsstandard der dem US-amerikanischen zumindest gleichkommt. Hinsichtlich der Universalität des Inhalts muss jedoch auch immer eine Balance mit der Authentizität gegeben sein. Professionelle Drehbuchentwicklung wird daher ein wesentlicher Erfolgsfaktor sein.
Die Umsetzung all dieser Kriterien wird in Verbindung mit den Wettbewerbsvorteilen Europas Produktionen kreieren, die zwar den US-amerikanischen nicht gänzlich unähnlich sind und der Kategorie des „Mainstream“ zugeordnet werden müssen, sie werden aber dennoch europäischen Charakter haben. Die Filme und Serien werden die europäische Gesellschaft widerspiegeln, genauso wie Hollywood den „American Way of Life“ reflektiert.
Table of Contents
1. INTRODUCTION
1.1. Definition of the Problem
1.2. Objective and Relevance
1.3. Structure and Organisation of the Paper
1.4. Limitations
2. THEORETICAL FUNDAMENTALS
2.1. Unique Characteristics of the TV Industry
2.2. Screen Media Exploitation Chain
2.3. Programme Acquisition
2.4. Types of Fictional Programming
2.4.1. Films
2.4.1.1. Feature Films
2.4.1.2. TV-Movies
2.4.2. Series
2.4.2.1. Drama Series
2.4.2.2. Daily Soaps
2.4.2.3. Sitcoms
2.5. The Different Markets: Mainstream and Arthouse
2.5.1. Arthouse Programming
2.5.2. Mainstream Programming
2.5.2.1. National Mainstream Productions
2.5.2.2. International Mainstream Productions
2.6. Core Concepts of Competitive Strategy
2.6.1. Competitive Forces
2.6.2. Competitive Strategies
2.6.2.1. Cost Leadership
2.6.2.2. Differentiation
2.6.2.3. Focus
2.6.2.4. “Stuck in the Middle”
2.6.2.5. Pursuit of More Than One Generic Strategy
2.7. Locational Choice
3. ANALYSIS OF THE MARKETS
3.1. The European Market for TV and Film Production
3.1.1. Structure of the TV Market
3.1.2. Characteristics of the TV market
3.2. The US Market for TV and Film Production
3.2.1. Structure of the TV Market
3.2.2. Characteristics of the TV market
3.3. The Market for TV Licenses
3.4. Programme Weight of Fiction in Europe
4. VOLUME AND COMPOSITION OF TRADE
4.1. Trade Data
4.2. The Origin of Fiction
5. SOURCES FOR US DOMINANCE OF TRADE AND THEIR SUSTAINABILITY
5.1. Sources of US Competitive Advantage
5.1.1. Domestic Market Size
5.1.2. Production in English
5.1.3. Characteristics of the US Market and Industry
5.1.4. The Hollywood System
5.1.4.1. The “Star” System
5.1.4.2. Vertical Integration
5.1.4.3. First-Mover Advantage
5.1.4.4. Export Pricing
5.1.4.5. Support by US Government
5.2. Sustainability of the US Competitive Advantages
6. REQUIREMENTS FOR THE INTERNATIONAL EXPLOITATION OF PRODUCTIONS
6.1. Internationalisation Strategies
6.1.1. Americanisation
6.1.2. Europeanization
6.2. The Relation between Universality and Authenticity
6.2.1. Creation of Universality
6.2.2. Universality of US TV Fiction
6.2.3. Script Development
7. THE DEVELOPMENT OF INTERNATIONALLY EXPLOITABLE EUROPEAN FICTION
7.1. Competitive Advantages of the EU
7.1.1. Freedom to choose content and form
7.1.2. Variety of Cultures
7.2. Utilisation of Competitive Advantages
7.3. Focus on Universal Values
8. SUMMARY AND CONCLUSION
Objectives and Key Themes
This thesis examines the economic and competitive position of the European television fiction industry relative to the US-American market standard. It aims to determine how European production infrastructures can develop internationally exploitable content while maintaining cultural authenticity.
- Economic analysis of trade strategies and competitive advantages in global fiction programming.
- Evaluation of Michael E. Porter's framework applied to the audiovisual industry and the sustainability of US dominance.
- Examination of the structural fragmentation of the European market versus the US homogenized system.
- Investigation into the critical balance between narrative universality and local authenticity for international market success.
- Development of criteria for creating internationally viable European mainstream content through institutionalized script development and financial backing.
Excerpt from the Book
6.2.3. Script Development
Chapter 6.2.1 has introduced how a story has to be structured to attain universal interest: it has to be conclusive, all actions and events have to be clearly motivated and the basic parameters of the story and the setting have to be conveyed unambiguously. The key prerequisite for such ideal universal fiction is a proficiently developed script.
Contrary to the US this development process is underestimated in many countries, particularly in Europe.
“Eigentlich handelt es sich hier um die erste große Krankheit der kontinentaleuropäischen Filmindustrie, da in den englischsprachigen Ländern noch am meisten auf die Projektentwicklung geachtet wird. Fehler, die in dieser Phase passieren, sind für das weitere Schicksal des Filmprojektes von größter Wichtigkeit.“
The general value of a script is influenced 1. by the fact whether the producers take a lot of trouble with the script development (as regards Mainstream fiction), and 2. by the degree of artistic imagination (as regards Arthouse productions). The script development process can therefore be illustrated by an arrow originating in the bottom left-hand corner of the universality-authenticity diagram.
The more distant a project is positioned from the starting point, the higher is its value. Consequently national Mainstream and Euro-Pudding fiction can be developed with only little efforts as regards script development and artistic imagination and are therefore the easiest to produce categories of fiction. During the development process the projects tend to deviate from the bisecting line in order to get the distinct profile of one of the four categories. According to RÖSCHEISEN the centre of the coordinate system is subsequently the most critical step in developing a script as the deviation to all categories is easily possible. The definition of the production is most imprecise during this stage of development.
Summary of Chapters
1. INTRODUCTION: This chapter defines the persistent dominance of US fiction in the European market and outlines the research objective of finding an economic path for competitive European productions.
2. THEORETICAL FUNDAMENTALS: This section classifies TV programming as an economic good and introduces key industry concepts like the exploitation chain, the cultural discount, and competitive strategy frameworks.
3. ANALYSIS OF THE MARKETS: This chapter contrasts the fragmented, culturally diverse European television market with the homogeneous, regionally organized US-American system.
4. VOLUME AND COMPOSITION OF TRADE: This part presents trade data illustrating the US dominance in audiovisual exports and the comparative reliance of European markets on imported programming.
5. SOURCES FOR US DOMINANCE OF TRADE AND THEIR SUSTAINABILITY: This section uses Porter’s "Competitive Advantage" framework to analyze US success factors, including market size, English language production, and the Hollywood system.
6. REQUIREMENTS FOR THE INTERNATIONAL EXPLOITATION OF PRODUCTIONS: This chapter explores internationalization strategies, emphasizing the necessity of balancing universality and authenticity in script development.
7. THE DEVELOPMENT OF INTERNATIONALLY EXPLOITABLE EUROPEAN FICTION: This concluding analytical section discusses potential competitive advantages for Europe, such as variety of cultures and freedom of content, to foster sustainable European mainstream fiction.
8. SUMMARY AND CONCLUSION: The final chapter synthesizes findings, arguing for a shift toward market-oriented, professionally structured script development to help European fiction achieve international viability.
Keywords
Television industry, European film production, Hollywood system, competitive advantage, audiovisual trade, cultural discount, universality, authenticity, script development, mainstream programming, economic analysis, media strategy, television licenses, market fragmentation, internationalization.
Frequently Asked Questions
What is the core focus of this thesis?
The thesis provides an economic analysis of why the US-American television fiction industry dominates world trade and identifies the necessary strategies for European producers to become internationally competitive.
What are the primary themes discussed?
The work covers competitive strategy in the media industry, market structure, the role of cultural discount in audiovisual trade, and the tension between artistic "auteur" culture and market-oriented mainstream production.
What is the main objective of the research?
The goal is to define the basic principles and objectives for a European cultural policy that facilitates the creation of successful, internationally exploitable mainstream television fiction.
Which scientific methodology is used?
The author employs Michael E. Porter’s "Competitive Advantage" framework, adapted to the specific economic and structural conditions of the global television and film production industry.
What does the main body of the text cover?
It details the unique characteristics of TV as an economic good, compares European and US market structures, evaluates the "Hollywood system" of production, and provides a roadmap for the institutionalization of script development in Europe.
What defines the character of this work?
The work is characterized by its economic perspective on cultural goods, the synthesis of industry-specific data, and its focus on the transition from national niche production to global mainstream reach.
How do US-American producers maintain their competitive edge?
According to the author, US dominance is driven by a large, homogeneous domestic market, English language output, vertical integration of studios, and a systemic "green-light" process that ensures commercial viability from the earliest stages of script development.
What is the "Euro-Pudding" concept mentioned in the study?
The term describes a failed attempt to create pan-European content by mixing different national tastes, which often lacks both a clear national identity and the universality needed for international success.
- Quote paper
- Matthias Funk (Author), 2004, The Development of Internationally Exploitable European TV Fiction, Munich, GRIN Verlag, https://www.grin.com/document/33027
