Das Fernsehereignis Big Brother: Analyse und Vergleich der drei ...
Das Fernsehereignis Big Brother: Analyse und Vergleich der drei ...
Das Fernsehereignis Big Brother: Analyse und Vergleich der drei ...
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
Global Media<br />
between<br />
Localization and De-Localization<br />
Lothar Mikos<br />
University of Film and Television<br />
Erich Pommer Institut<br />
Media Across Bor<strong>der</strong>s, Roehampton, 2012/06/09
Introduction<br />
• Global media market<br />
• USA leading exporter of TV fiction<br />
and films<br />
• Latin America leading exporter of<br />
telenovelas<br />
• Great Britain, USA and Netherlands<br />
leading exporter of non-fictional<br />
formats<br />
• Spain, France and Germany leading<br />
importer of all kinds of formats<br />
L. Mikos
Format Import and Export<br />
Formatimport Formatexport<br />
Germany Great Britain<br />
France Netherlands<br />
Italy USA<br />
Spain Australia<br />
Australia Sweden<br />
Poland France<br />
Great Britain Norway<br />
L. Mikos<br />
Years 2002-2004
Format Import and Export<br />
Formatimport Formatexport<br />
Spain Great Britain<br />
France USA<br />
Germany Netherlands<br />
Italy Argentinia<br />
USA Sweden<br />
Netherlands Germany<br />
Norway Spain<br />
L. Mikos<br />
Years 2006-2008; Source FRAPA
TV Formats and Films<br />
Four types of commercial exploitation:<br />
• Game- and Reality-Shows for local<br />
adaptations / format trade<br />
• Series or serial for local adaptations<br />
• License of a serial or series<br />
• Global distribution of blockbusters<br />
L. Mikos
TV Formats and Films<br />
Localization:<br />
• Local adaptations of entertainment<br />
shows<br />
• Local adaptations of series or serials<br />
• Dubbing or subtitling as cultural<br />
translation of a licensed serial or<br />
series and of global distributed<br />
blockbusters<br />
L. Mikos
TV Formats and Films<br />
Localization:<br />
• Local adaptations<br />
De-Localization:<br />
• Format structure and look<br />
L. Mikos
TV Formats<br />
L. Mikos<br />
Local Adaptation of Game and Reality Shows:
TV Formats<br />
L. Mikos<br />
Local Adaptation of Game and Reality Shows:
TV Formats<br />
L. Mikos<br />
Local Adaptation of Game and Reality Shows:
TV Formats and Films<br />
Localization:<br />
• Highlighting of local areas in series<br />
De-Localization:<br />
• Building artificial worlds<br />
L. Mikos
Licensed TV Formats<br />
Localised:<br />
• Wire (Baltimore)<br />
• CSI (Las Vegas, Miami, New York)<br />
• Boardwalk Empire (Atlantic City)<br />
• Sex & the City (New York)<br />
• The Bridge (Malmö / Copenhagn)<br />
• 24 (Los Angeles)<br />
• Grey‘s Anatomy (Seattle)<br />
• Sherlock (London)<br />
• Dexter (Miami)<br />
L. Mikos
Licensed TV Formats<br />
De-Localised:<br />
• Heroes<br />
• Touch<br />
• X-Files<br />
• Desperate Housewives<br />
• Weeds<br />
• Sons of Anarchy<br />
• Simpsons<br />
L. Mikos
TV Formats<br />
Series for local adaptation:<br />
• The Restless Years / AUS<br />
(Germany / Netherlands)<br />
• Sons and Daughters / AUS<br />
(Germany)<br />
• Yo soy Betty, la fea / COL (several<br />
adaptations)<br />
L. Mikos
Example Ugly Betty<br />
• Original: Yo soy Betty, la fea (Colombia,<br />
RCN 1999-2001<br />
• India: Jassi Jaissi Koi Nahin (2002)<br />
• Russia: Ne Rodis‘ Krasivoy (2005)<br />
• Germany: Verliebt in Berlin (2005-2007)<br />
• Spain: Yo soy Bea (2006)<br />
• USA: Ugly Betty (2006)<br />
• China: Chou Nü Wu Di (2008)<br />
• Belgium, Netherlands, Greece, Israel,<br />
Mexico, Slovenia/Croatia, Turkey, Poland,<br />
Portugal, Brazil, Vietnam, Georgia<br />
L. Mikos
Distribution<br />
Adaptations:<br />
� RCN (Columbia, China, Czech Republic,<br />
Turkey, Vietnam)<br />
� Sony International (India and Russia)<br />
� Televisa (Mexico, Brazil, China,<br />
Philippines)<br />
� Fremantle bought the adaptation rights in<br />
2005 (adaptations in Belgium, Germany<br />
(Hungary), Greece, Netherlands, Spain,<br />
Bosnia/Croatia/Serbia (Poland), Italy)<br />
L. Mikos
Distribution<br />
� NBC and Sony Pictures tried to do an<br />
US-adaptation in 2001, but failed<br />
� ABC, Reveille Prod., Ventanarosa and<br />
Touchstone Television (US-adapation in<br />
2006)<br />
� Remakes in Mexico and Venezuela<br />
� Remakes of the Mexican remake in Israel<br />
and Portugal<br />
� Remake as a mix of the Mexican and<br />
Venezuelan one in Malaysia<br />
� Variety of length (22 to 48 minutes)<br />
L. Mikos
Example Ugly Betty<br />
Colombia Germany Russia Spain U.S.A.<br />
Yo soy Betty,<br />
la fea<br />
Verliebt in<br />
Berlin<br />
Ne Rodis<br />
Krasivoy<br />
Yo soy Bea Ugly Betty<br />
Beatriz Lisa Katya Bea Betty<br />
L. Mikos
Example Ugly Betty<br />
• Leticia (Mexico)<br />
• Jasmeed (India)<br />
L. Mikos
Example Ugly Betty<br />
• Maria (Greece)<br />
• Lotte (Netherlands)<br />
• Sara (Belgium)<br />
L. Mikos
Example Ugly Betty<br />
• Esti (Israel)<br />
• Nina (Slovenia/Croatia)<br />
• Katka (Czech Rep.)<br />
L. Mikos
Example Ugly Betty<br />
• Ula (Poland)<br />
• Gönül (Turkey)<br />
• Wu Di (China)<br />
L. Mikos
Example Ugly Betty<br />
• Bela (Brazil)<br />
• Huyên Diêu (Vietnam)<br />
• Alice (Portugal)<br />
L. Mikos
Example Ugly Betty<br />
• Tamuna (Georgia)<br />
• Beatriz (Philipinnes)<br />
• Emilda (Malaysia)<br />
L. Mikos
Characters and conflicts<br />
Colombia Germany Russia Spain U.S.A.<br />
Yo soy<br />
Betty, la<br />
fea<br />
Verliebt<br />
in Berlin<br />
Ne Rodis<br />
Krasivoy<br />
Yo soy<br />
Bea<br />
Ugly<br />
Betty<br />
L. Mikos
A general<br />
character’s<br />
schema is<br />
roughly<br />
followed<br />
in all the<br />
adaptations<br />
consi<strong>der</strong>ed.<br />
Colombia Germany Russia Spain U.S.A.<br />
Yo soy<br />
Betty, la<br />
fea<br />
Verliebt<br />
in Berlin<br />
Ne Rodis<br />
Krasivoy<br />
Yo soy<br />
Bea<br />
Ugly<br />
Betty<br />
L. Mikos<br />
Some narrative<br />
functions may shift<br />
from one character<br />
to another or may<br />
be summed up, but<br />
this just happens<br />
for the<br />
second-line roles.
A general<br />
character’s<br />
schema is<br />
roughly<br />
followed<br />
in all the<br />
adaptations<br />
consi<strong>der</strong>ed.<br />
Colombia Germany Russia Spain U.S.A.<br />
Yo soy<br />
Betty, la<br />
fea<br />
Verliebt<br />
in Berlin<br />
Ne Rodis<br />
Krasivoy<br />
Yo soy<br />
Bea<br />
Ugly<br />
Betty<br />
L. Mikos<br />
Some narrative<br />
functions may shift<br />
from one character<br />
to another or may<br />
be summed up, but<br />
this just happens<br />
for the<br />
second-line roles.
Example Ugly Betty<br />
Same, same, but different<br />
L. Mikos
Blockbuster<br />
� SFX and VFX scenes aim at crafting<br />
convincing artificial worlds, in which<br />
cultural authenticity is not notable<br />
Lord of the Rings<br />
L. Mikos
Blockbuster<br />
� SFX and VFX scenes aim at crafting<br />
convincing artificial worlds, in which<br />
cultural authenticity is not notable<br />
Star Wars<br />
L. Mikos
Blockbuster<br />
� Within the crafted worlds different specific<br />
identities have to form part of a sort of<br />
multicultural society<br />
L. Mikos<br />
Pirates of the Caribbean
Conclusions<br />
� Special and digital visual effects furthermore<br />
aim at crafting a convincing diegetic,<br />
artificial world<br />
� These artificial worlds possess the<br />
special power of being able to awaken<br />
landscapes in which cultural authenticity is<br />
not notable and in which different<br />
specific cultural stereotypes are part of a<br />
multicultural society<br />
L. Mikos
Conclusions<br />
Local adaptations of Yo soy Betty, la fea<br />
� reflect local culture and local aesthetics in<br />
respect to local media history<br />
� and use international well known narrative<br />
conventions and genre styles at the same<br />
time<br />
� in or<strong>der</strong> to produce a hybrid format<br />
� that is worth to be licensed globally<br />
L. Mikos
Conclusions<br />
L. Mikos<br />
� Local adaptations have to be aware of the<br />
complexities of flows and contra-flows in the<br />
traveling of formats<br />
� Global flow of TV formats and blockbusters<br />
� Local adaptations and cultural translations<br />
� Contradictory tendencies of localization and<br />
de-localization at the same time
The End<br />
Many thanks for<br />
your attention<br />
Contact:<br />
l.mikos@hff-potsdam.de<br />
mikos@epi-medieninstitut.de<br />
L. Mikos
Change language