Super Format and Rapid Development of TV Formats - Essay Example

? ‘Super format’ and rapid development of TV formats al affiliation ‘Super format’ and rapid development of TV formats Numerous changes have been witnessed in the TV industry over the years. In this case, therefore, numerous analysts and researchers have carried out research and compiled results on the developments that have been taking part in the TV industry. Among the changes that have been indicated in the TV industry include the rapid changes that have been taking place in TV formats that has completely revolutionized the industry. In the subsequent years, there saw an inclusion of a myriad of channels, some under the umbrella of well established channels. Additionally, with the increase in demand, a lot of investors came up with new ideas that saw the production of programs to match the demands of the customers in the markets. On the other hand, exploiters came up with the idea of exploiting the novel entrepreneurs with the idea of coming up with interesting and catchy programs that would sell and attract the attention of many individuals in the market. Moran & Malbon (2006) indicate that, with the advent of the digital technology, the global TV market indicated developments in coming up with a digital TV channel, that was directed to the consumers; thus, massive profits were indicated by the investors in the industry. TV super formats According to the research conducted by Ward (2003), TV super formats can be referred to as the elements that are in various ways completely invariable, and in which other programs are derived from. This basically refers to the derivation of many programs from a singular element, as a result of manipulation of systems to come up with a new program. TV super formats are, therefore, concepts derived from an original program that are reproduced in another for a different audience. With the right documentation these TV formats can be sold internationally for the original concepts to be replicated in other countries. Right documentation, here, refers to trading licenses between the seller and the buyer of the formats (Ward, 2003). With a lot of competition being experienced in the TV and broadcasting industry, there was a dire need by the broadcasting markets to diversify the rules of governing the broadcasting markets. In the long run, trade in the TV broadcasting saw the inclusion of many more traders; thus many players in the industry (Chalaby, 2011). Rapid development of TV formats Private channels Many parts of the world have experienced an upward trend in the number of channels airing programs. Research by Holmes and Jermyn (2004) shows that in prior years, national channels dominated the television sets in various countries, whereby viewers had no choice but to view whatever programs were aired. However, this trend took a dramatic change with the privatization of channels in many countries. In their quest to win over the viewers, these channels went looking for interesting and catchy programs to draw the interest of the viewers. The most viable way to do this was to concentrate on format programs. With time, privately owned television networks increased in number and completion for audiences was rife, with each trying its best to attract as many audiences as possible. In most cases, national broadcasters lagged behind in the completion for viewership, as they did not want to air programs that supported other nation’s talents and capabilities. The battle, therefore, was among the privately owned television channels. This completion fuelled the rise and spread of format TV. The investors and entrepreneurs in of these privately owned channels are, therefore, the catalysts for the rise in TV formats. Audience Audiences all over the globe have shown a particular liking to TV format programs over original ones. According to Holmes (2004) the concept of TV formats cannot be alienated from a discussion of the communication industry as far as television is concerned. Television formats are vital in the case of journalists and viewers of TV programs. As a result of TV formats, programs such as ‘America’s Top Idol’ and ‘Big Brother’ have claimed a huge percentage of audiences in the market. In this case, therefore, Chalaby (2010) narrates of the increasing rush by the investors in the market to access the best formats that will see fitting of their programs for proper visualizations. In as much the television formats have been credited for their ability to fix the investors in the market, the newscasters and the concerned stakeholders in the TV industry have no option, but to come up with a solution towards fitting in the market. Conclusively, television viewers are largely attributed to the fast rise of format programs. Investors in this industry, just like in any other, make the investments because they are sure that their products are well received in the market. Relative low costs of production Research shows that it is cheaper for producers to air format programs than coming up with original shows. Coming up with an original show would mean a lot of campaigning to ensure that the program creates a name in the television industry. This often translates to a lot of money being used towards popularizing the program. However, this is not the case with TV formats. As Holmes and Jermyn (2004) put it, a brand that has been sold in more than one territory is more likely to sell in another. Although the licensee has to pay loyalties to the licensor, these loyalties are way cheaper than producing an original program. Moran (1998) indicates that TV formats have added advantages like extended brands, provision of games, and a lot of revenues for advertisement purposes amongst others. With the added advantages, the stakeholders in the industry have no option, but to maintain the existence of formats in the course of their productions. Advancement in technology has also been a driving force towards the growth and rise of format TV. Technology to do with channels connected cable and satellite has seen the faster transfer of information. A single program can be aired in different countries at the same time using the cable network. Advancement in technology hinders the production the original programs in third world countries. Even with the production of original programs, less developed countries do not have the required technology to audience the global viewers. Risk reduction Another reason for the rise in TV formats is that these formats witness a reduced risk level in terms of viewer ratings in comparison to original programs. It is almost a guarantee that if the original program was a hit in the origin country or channel, then its format is going to be as hit as well. In this regard, being the first to air a program is not an option that many broadcasters are willing to take. The risk involved here, is that the chances of a new original program attaining impressive viewer ratings are very slim (Hill, 2005). If the new program does not “hit”, then the broadcaster suffers a lot of losses. Evidently, this is a risk that not many broadcasters are willing to run. Most broadcasters would rather take the easy way out and air format programs, of which they are sure the ratings, are going to bring them profits. Promising markets In recent years, there has been an increase in sales and steady markets in the trade of formed television programs. These markets are not alike with the ordinary global markets; they are states with the ability of changing the global television channels. According to Moran (2009) main stakeholders in the industry comprise of the United States as the head of production of format programs, United Kingdom as the main exporter of format thoughts, and Germany as the number one importer of the similar ideas globally. Ratings have continually indicated that formats take up more than half the global airtime in the above mentioned countries. Arguably, these countries are global economic powerhouses and have the capacity to sustain format TV for a long time to come. Analysts argue that this trend has been occasioned by the increasing tendency by TV channels to use digital technology in their productions. As earlier on mentioned, technology is instrumental in the growth and development of TV format programs. Globalization Globalization has contributed largely to the rise of format TV. One of the major ingredients of globalization is communication. In line with this, the world of television has been at the forefront in ensuring that the world becomes a global village in terms of the content aired on their television sets. Format programs ensure that the content aired in one country is the same being aired in another, although in the latter it becomes localized. This way, the world can rightfully attest to the role communication, represented here by format TV has played in globalization, and vice-versa. Researchers have indicated that format programs are likely to stem from urbanized states and proliferate to the less urbanized states in the world. These claims can be clarified by the notion that developing states are not in a financial position to produce original programs and have to depend on their more industrious counterparts. Nevertheless, there are some developing countries that are doing extremely well in the television industry and whose original programs have found airplay in international channels. These countries include: India, Columbia, and even Nigeria. Chalaby (2010) argues that all this goes to show the impact of globalization on format TV Easy entry to the market Easy entry into this business, both in legal and unscrupulous terms has lead to the rapid development of the TV formats in the globe. With the increase in the amounts of funding by these industries, a lot of clients have ended up coming in increase their investments in the industry. For instance, Ward (2003) indicates that the broadcasters have increased the manner in which they develop their formats so as to attract a huge amount of clients to their business. With these extra profits that are likely to be earned in this industry, it is palpable that no investor is out to waste any time but grab a section of what the market has to offer. This can be justified with the example of the genre format that has seen a great percentage of investors improving their systems, by including a system of repetitive systems and ideas that have once been used in the past in program line up so as the new audiences can adapt to the new systems that they are not only used to, but they are already acquainted to, but have only undergone minute changes. This aspect of TV formats can arguably be indicated to undergo formation that makes the entire systems more recreating by reproduction of new ideas that see the clients and the general beneficiaries of the TV fraternity enjoy their usual tastes but to a higher and more improved level. According to the research by Ward (2003), the ability of the formats is created in whichever genre or format; it creates a situation whereby the essence of the show remains, but leaves the clients yearning for more. Factual entertainment remains, in the case of the clients; which can be proven by the fact that the broadcasters find it extremely profitable to invest huge sums of money into the industry so as to acquire the best formats that can be used to deal with the clients in the market. With the costs of licenses going higher and higher, the broadcasters are being seen in no pains to purchase them despite the costs. Hill (2005) indicates that, the amount of investors venturing in the TV format industry has indicated a 10% increase annually, ever since the BBC era, which received a lot of revenues from the business. He continues to argue that with the competition increasing by year, the UK has managed to be one of the leading industries in the business. The statistics of this leading country stand at an exceptional 45% in the market in teams of exports of the TV formats. However, it is important to consider that, even as claims that developed countries has conquered the TV format market for many years; third world states have also connected the drift and are getting as much sales from the formatted television programs, for example, consider the state of Columbia. It has been on the television map for the production of the comedy series ‘Ugly Betty’ that has sold all over the world. This trade can indeed be termed as attractive, full of repetition that has seen its success over the years in the TV industry. However, in all markets, despite how professional it may sound a lot of piracy and unprofessionalism has been indicated in this business, this is from the fact that a lot of unscrupulous business persons want to venture into the industry having paid no license fee. Therefore, they are connected in scanning of the TV formats and vend the products at a much lower price so to be able to get large sums of cash from the industry. A large number of these individuals are used to editing the original programs, but with no authority from the original production companies, they then sell the same programs locally at a lower price. This is yet another factor that has seen the evolving of the industry in such a short time. With the rising in numbers of cases of piracy, the contents of the formats are able to reach a lot of persons in the market who end up sharing the same contents all over the world. In as much the original producers of these programs hold the belief that their products and contents are being stolen, the means of dealing with intellectual thefts are nit stringent enough to deal with these cases of piracy. In response, cases of plagiarism will keep increasing with time, with the original composers of the programs carrying foul of stolen ‘ideas’ that were previously their source of billions and riches in the world of tough economic times. The worst hit countries with cases of plagiarism include U.S.A., Britain and Germany. The cases of copying have increased at a higher rate, and accusations being filed as the days go by (Moran, 1998). Our major concern, in this case, though on a negative point of view is the reasons behind successful development of TV formats all over the world. Were it not for the piracy- so called theft of intellectual property, a lot of persons would not be conversant with the aspects such as X factor, Pop idols, amongst others. Persons of low economic and social statuses have managed to be involved with such programs making it easier for them to witness the rapid development of the TV formats despite it being termed as unscrupulous. Conclusion Decisively, it would be correct to suggest that television formatted programs have impacted both negatively and positively in the television culture. The industry is said to increase its levels of production and quality with the increased number of investors. An increase in investors means competition, and completion means production of services that are of high quality and can be of benefit to the beneficiaries. With globalization and promising markets, a lot of persons have taken a risk of getting involved in the business, whether profits will be of long term or short term. It has also been discussed that in the developing countries, access to TV formats has been possible with the business of piracy taking shape in the industry. It is expected that in the coming years, the industry of TV formats will increase at a higher level, with better productions being witnessed in the market (Moran & Malbon, 2006). The consumers of the products will, consequently, have a wide range of services and products to chose from, as the world slowly being ‘ formatized’ into a better visual world. References Bazalgette, P., 2005. Billion Dollar Game: How Three Men Risked It All and Changed the Face of Television. London: Time Warner.  Chalaby, J., 2010 ‘The rise of Britain’s super-indies: Policy-making in the age of the global media market’, The International Communication Gazette, 728: 675-693. --------------2011 ‘The Making of an Entertainment Revolution: How the TV Format Trade Became a Global Industry’, European Journal of Communication, 26(4): 293-309.  ----------------2012 ‘At the Origin of a Global Industry: The TV Format Trade as an Anglo-American Invention’, Media, Culture & Society, 34(1): 37-53.  Gorton, K., 2009. Media Audiences: Television, Meaning and Emotion. Edinburgh: Edinburgh University Press. Hill, A., 2005. Reality TV: audiences and popular factual television. London: Routledge. Holmes, S., 2004 ‘Reality Goes Pop!’ Reality TV, Popular Music, and Narratives of Stardom in Pop Idol’, Television & New Media, 52: 147-172.  Holmes, S., & Jermyn, D., 2004, Understanding Reality Television. London: Routledge. Moran, A., 2009. TV Formats Worldwide: Localizing Global Programs. London: Intellect. ------------------1998. Copycat Television: Globalization, Program Formats and Culture Identity. University of Luton Press. Chapters 1 to 5.  Moran, A., & Malbon, J., 2006. Understanding the Global Tv Format. London: Intellect Books. Ward, P., 2003. Picture Composition for Film and Television. Elsevier: Focal Press. Read More