VoD platforms and the diversity of European culture: The case of crime television formats and policy-related considerations | Intellect Skip to content
1981
image of VoD platforms and the diversity of European culture: The case of crime television formats and policy-related considerations

Abstract

This article explores the internet circulation of crime drama and the implications for European popular culture. It focuses on scripted television formats as potentially commercially sustainable vehicles of cultural hybridization. The research finds that although quantitatively speaking crime format localizations are a tiny portion of what is currently produced in Europe, these products still hold the potential to disseminate interesting stories that embody diverse values from a wide range of European countries. Formats have the potential to increase diversity rather than erase specificity. The ability of technological advances and new distribution avenues to increase the diversity of actual cultural experiences should not be overestimated, and with no media policy that tackles issues of inequality of access and geopolitical unbalances, European non-national products will likely continue to be consumed mostly by a minority from the highly educated middle/upper-middle classes. The exposure to the diversity of European culture will therefore be limited to these social groups.

Funding
This study was supported by the:
  • EU Horizon 2020 scheme (Award 770151)
Loading

Article metrics loading...

/content/journals/10.1386/jdmp_00113_1
2022-12-19
2024-05-02
Loading full text...

Full text loading...

References

  1. Antoniazzi, L.. ( 2020;), ‘ Midsomer Murders AKA L’ispettore Barnaby: How did it find its way into the Italian market and why was it successful?. ’, Journal of Popular Television, 8:3, pp. 25562.
    [Google Scholar]
  2. Antoniazzi, L., and Barra, L.. ( 2021;), ‘ Internationalization and localization of media content: The circulation and national mediation of ready-made TV shows and formats. ’, in E. Bielsa. (ed.), The Routledge Handbook of Translation and Media, London:: Routledge;, pp. 7490.
    [Google Scholar]
  3. Antoniazzi, L., and Barra, L.. (eds) ( 2022), Diversity and Transculturality on VoD Platforms, Deliverable 6.3, Bologna:: DETECt – Detecting Transcultural Identity in European Popular Crime Narratives;.
    [Google Scholar]
  4. Antoniazzi, L., and Bengesser, C.. ( 2022;), ‘ Media-political inroads for Europeanising national cultural public spheres: EU-level obstacles and national public service perspectives. ’, International Journal of Cultural Policy, 29, https://doi.org/10.1080/10286632.2022.2043288. Accessed 25 November 2022.
    [Google Scholar]
  5. Antoniazzi, L., and Casoli, S.. ( 2021;), ‘ BBC’s Sherlock and Europeanness: A case study on the circulation of a European TV crime series in Italy. ’, Cinéma & Cie: Film and Media Studies Journal, 21:36&37, pp. 1940.
    [Google Scholar]
  6. Antonioni, S.,, Barra, L., and Checcaglini, C.. ( 2021;), ‘ “SKAM Italia did it again”: The multiple lives of a format adaptation from production to audience experience. ’, Critical Studies in Television, 16:4, pp. 43354.
    [Google Scholar]
  7. Barra, L.. ( 2015;), ‘ Star a ripetizione: Modelli di celebrità̀ nella fiction italiana contemporanea. ’, Bianco e Nero, 76:1, pp. 3242.
    [Google Scholar]
  8. Barra, L., and Scaglioni, M.. ( 2021;), ‘ Towards a new model for Italian TV Fiction. ’, in L. Barra, and M. Scaglioni. (eds), A European Television Fiction Renaissance: Premium Production Models and Transnational Circulation, Abingdon:: Routledge;, pp. 14564.
    [Google Scholar]
  9. Batori, A.. ( 2019;), ‘ Old and new hierarchies: Rewritten social norms in silent valley. ’, Colloquia Humanistica, 8:1, pp. 16586.
    [Google Scholar]
  10. Bengesser, C.. ( 2019;), ‘ Partners in crime: Transnational television’s role in the emergence and distribution of narratives of European solidarity. ’, Journal of European Studies, 49:3&4, pp. 41026.
    [Google Scholar]
  11. Bengesser, C., and Hansen, K. T.. ( 2022;), ‘ Scandinavian success as European policy dilemma: Creative Europe’s funding for TV drama co-productions, 2014–20. ’, International Journal of Cultural Policy, 28:6, pp. 697714.
    [Google Scholar]
  12. Bondebjerg, I.,, Redvall, E. N.,, Helles, R.,, Lai, S. S.,, Søndergaard, H., and Astrupgaard, C.. ( 2017), Transnational European Television Drama: Production, Genres and Audiences, London:: Palgrave Mcmillan;.
    [Google Scholar]
  13. Broughton Micova, S.. ( 2019;), ‘ Case study research. ’, in H. van den Bulck,, M. Puppis,, K. Donders, and L. van Audenhove. (eds), The Palgrave Handbook of Methods for Media Policy Research, Cham:: Palgrave Macmillan;, pp. 7184.
    [Google Scholar]
  14. Brüggemann, M.,, Engesser, S.,, Büchel, F.,, Humprecht, E., and Castro, L.. ( 2014;), ‘ Hallin and Mancini revisited: Four empirical types of Western media systems. ’, Journal of Communication, 64:6, pp. 103765.
    [Google Scholar]
  15. Caia, A.. ( 2016;), ‘ Valea Mută: Cronica primului episod. ’, Sapte Seri, 21 October, https://www.sapteseri.ro/entertainment/film/valea-muta-cronica-primului-episod. Accessed 2 May 2022.
    [Google Scholar]
  16. Carelli, P., and Garofalo, D.. ( 2020;), ‘ Transnational circulation of European TV series: National models and industrial strategies for scripted pay imports/exports. ’, in L. Barra, and M. Scaglioni. (eds), A European Television Fiction Renaissance, London:: Routledge;, pp. 5667.
    [Google Scholar]
  17. Chalaby, J. K.. ( 2016;), ‘ Drama without drama: The late rise of scripted TV formats. ’, Television & New Media, 17:1, pp. 320.
    [Google Scholar]
  18. Chalaby, J. K.. ( 2017;), ‘ Can a GVC-oriented policy mitigate the inequalities of the world media system? Strategies for economic upgrading in the TV format global value chain. ’, International Journal of Digital Television, 8:1, pp. 928.
    [Google Scholar]
  19. Charlemagne ( 2021;), ‘ How Netflix is creating a common European culture. ’, The Economist, 31 May, https://www.economist.com/europe/2021/03/31/how-netflix-is-creating-a-common-europeanculture. Accessed 7 October 2021.
    [Google Scholar]
  20. Constanda, A.. ( 2016;), ‘ Theodor Şoptelea şi Vlad Bălan vă ademenesc în “Valea Mută”. ’, Adevarul.ro, 20 October, https://adevarul.ro/entertainment/tv/theodor-Soptelea-vlad-balan-vor-ademeni-valea-muta-adevarul-live-ora-1300-1_580878685ab6550cb8bb0dff/index.html. Accessed 2 June 2022.
    [Google Scholar]
  21. Constantin, A.. ( 2016;), ‘ Serial HBO filmat la Brașov. ’, Brașov TV, 11 October, https://www.brasovtv.com/index.php/eveniment/944-serial-hbo-filmat-la-brasov#gsc.tab=0. Accessed 9 June 2022.
    [Google Scholar]
  22. Coulaud, F.. ( 2018;), ‘ Les Innicentes, à quand la saison 2?. ’, Telestar, 25 January, https://www.telestar.fr/serie-tv/autres-series/les-innocents-a-quand-la-saison2-326654. Accessed 9 June 2022.
    [Google Scholar]
  23. Cox, T.. ( 2009;), ‘ The psychology behind America’s crime obsession. ’, National Public Radio, 23 January, https://www.npr.org/transcripts/99803591?storyId=99803591?storyId=99803591. Accessed 9 June 2022.
    [Google Scholar]
  24. Dobrescu, C.. ( 2019;), ‘ Modern mythologies, crime narratives, and developmental contradictions: Nordic Noir in the “Transylvanian Alps”. ’, Bulletin of the Transilvania University of Braşov Series IV: Philology & Cultural Studies, 16:61, pp. 8398.
    [Google Scholar]
  25. Dobrescu, C., and Eichel, R.. ( 2020;), ‘ Transylvanian location aesthetics and policies: Case studies Valea Mutã and Hackerville. ’, in C. Bengesser,, K. T. Hansen, and L. S. Gemzøe. (eds), Location Marketing and Cultural Tourism, Bologna:: Detecting Transcultural Identity in European Popular Crime Narratives (DETECt);, pp. 4754, http://www.detect-project.eu/wp-content/uploads/2020/02/COMPLETE_d4.1_final2.pdf. Accessed 27 February 2021.
    [Google Scholar]
  26. Esser, A.. ( 2010;), ‘ Television formats: Primetime staple, global market. ’, Popular Communication, 8:4, pp. 27392.
    [Google Scholar]
  27. Esser, A.. ( 2014;), ‘ European television programming: Exemplifying and theorizing glocalization in the media. ’, in R. Robertson. (ed.), European Glocalization in Global Context, Basingstoke:: Palgrave;, pp. 82102.
    [Google Scholar]
  28. Esser, A.. ( 2017;), ‘ TV format sector consolidation and its impact on the configuration and “stickiness” of the UK entertainment production market. ’, International Journal of Digital Television, 8:1, pp. 14365.
    [Google Scholar]
  29. Esser, A.. ( 2021;), ‘ TV formats: Transnationalizing television production and distribution. ’, in P. McDonald. (ed.), The Routledge Companion to Media Industries, London:: Routledge;, pp. 35162.
    [Google Scholar]
  30. Esser, A., and Jensen, P. M.. ( 2015;), ‘ The use of international television formats by public service broadcasters in Australia, Denmark and Germany. ’, International Communication Gazette, 77:4, pp. 35983.
    [Google Scholar]
  31. Fligstein, N.. ( 2008), Euroclash: The EU, European Identity, and the Future of Europe, Oxford:: Oxford University Press;.
    [Google Scholar]
  32. Fligstein, N.. ( 2016;), ‘ European identities and politics in the wake of the financial crisis. ’, Public Lecture Series, Trinity College Dublin, 9 March, https://www.youtube.com/watch?v=7dInmXFrk2s&t=2984s. Accessed 11 October 2022.
    [Google Scholar]
  33. Fontaine, G., and Jiminez Pumares, M.. ( 2020;), ‘ European high-end fiction series: State of play and trends. ’, European Audiovisual Observatory, https://rm.coe.int/european-high-end-fiction-series-state-of-play-and-trends-g-fontaine-a/16809f80cd. Accessed 21 February 2022.
    [Google Scholar]
  34. Fry, A.. ( 2021;), ‘ TV trends 2022: What’s next for TV as we get used to life with COVID-19?. ’, Miptrends, 23 November, https://www.miptrends.com/tv-business/tv-trends-2022/. Accessed 2 May 2022.
    [Google Scholar]
  35. Fung, A.. ( 2015;), ‘ The globalization of TV formats. ’, in K. Oakley, and J. O’Connor. (eds), The Routledge Companion to the Cultural Industries, London:: Routledge;, pp. 13040.
    [Google Scholar]
  36. Garnham, N.. ( 1990), Capitalism and Communication, London:: Sage Publications;.
    [Google Scholar]
  37. Grece, C., and Jiménez Pumares, M.. ( 2020;), ‘ Film and TV content in VOD catalogues. ’, European Audiovisual Observatory, https://rm.coe.int/film-and-tv-content-in-vod-catalogues-2020-edition-final/1680a13537. Accessed 25 January 2022.
    [Google Scholar]
  38. Hansen, K. T.. ( 2020;), ‘ Nordic noir from within and beyond: Negotiating geopolitical regionalisation through SVoD crime narratives. ’, Nordicom Review, 4:1, pp. 12337.
    [Google Scholar]
  39. Hansen, K. T.,, Keszeg, A., and Kálai, S.. ( 2021;), ‘ From remade drama to original crime: HBO Europe’s original television productions. ’, European Review, 29:5, pp. 60117.
    [Google Scholar]
  40. Havens, T.. ( 2006), Global Television Marketplace, London:: BFI;.
    [Google Scholar]
  41. Helberger, N.. ( 2015;), ‘ Merely facilitating or actively stimulating diverse media choices? Public service media at the crossroad. ’, International Journal of Communication, 9:1, pp. 132440.
    [Google Scholar]
  42. Hesmondhalgh, D.. ( 2017;), ‘ Why it matters when big tech firms extend their power into media content. ’, The Conversation, 15 March, https://theconversation.com/why-it-matters-when-big-tech-firms-extend-their-power-into-media-content-86876. Accessed 12 October 2022xs.
    [Google Scholar]
  43. Hesmondhalgh, D.. ( 2019), The Cultural Industries, London:: Sage Publications;.
    [Google Scholar]
  44. Higson, A.. ( 2018;), ‘ The circulation of European films within Europe: The circulation of European films within Europe. ’, Comunicazioni Sociali, 45:3, pp. 30623.
    [Google Scholar]
  45. Hilmes, M.. ( 2013;), ‘ The whole world’s unlikely heroine: Ugly Betty as transnational phenomenon. ’, in J. McCabe, and K. Akass. (eds), TV’s Betty Goes Global: From Telenovela to International Brand, London:: I. B. Tauris;, pp. 2644.
    [Google Scholar]
  46. Holdaway, D.,, Penati, C., and Sfardini, A.. ( 2020;), ‘ Mapping European premium-scripted TV. ’, in L. Barra, and M. Scaglioni. (eds), A European Television Fiction Renaissance: Premium Production Models and Transnational Circulation, Abingdon:: Routledge;, pp. 3355.
    [Google Scholar]
  47. Iosifidis, P.. (ed.) ( 2010), Reinventing Public Service Communication: European Broadcasters and Beyond, Basingstoke:: Palgrave Macmillan;.
    [Google Scholar]
  48. Jamet, C.. ( 2018;), ‘ Comment Les Innocents sont sortis de l’ombre de Témoin sous silence. ’, Le Figaro, 11 January, https://tvmag.lefigaro.fr/programme-tv/comment-les-innocents-sont-sortis-de-l-ombre-de-temoin-sous-silence_f7690698-f6ca-11e7-9648-3ee1f89ddf5f/. Accessed 9 June 2022.
    [Google Scholar]
  49. Johnson., C. ( 2019), Online TV, London:: Routledge;.
    [Google Scholar]
  50. Keane, M., and Liu, B. R.. ( 2009;), ‘ Independent television production, TV formats and media diversity in China. ’, in A. Moran. (ed.), TV Format Worldwide: Localizing Global Programs, Bristol:: Intellect;, pp. 24053.
    [Google Scholar]
  51. Keane, M., and Zhang, J. D.. ( 2017;), ‘ Formats, cultural security and China’s going out policy. ’, International Journal of Digital Television, 8:1, pp. 6580.
    [Google Scholar]
  52. Keinonen, H.. ( 2017;), ‘ Television format as cultural technology transfer: Importing a production format for daily drama. ’, Media, Culture & Society, 39:7, pp. 9951010.
    [Google Scholar]
  53. Marinescu, K.. ( 2016;), ‘ Regizorul Marian Crişan: La scenariul “Valea mută” (HBO) m-a atras tematica controversată. ’, Mediafax, 27 Luglio, https://www.mediafax.ro/cultura-media/regizorul-marian-crisan-la-scenariul-valea-muta-hbo-m-a-atras-tematica-controversata-foto-15525023. Accessed 12 June 2022.
    [Google Scholar]
  54. Mazzucato, M.,, Conway, R.,, Mazzoli, E. M.,, Knoll, E., and Albala, S.. ( 2020), Creating and Measuring Dynamic Public Value at the BBC, Policy Report (IIPP 2020-19), London:: UCL Institute for Innovation and Public Purpose;, https://www.ucl.ac.uk/bartlett/public-purpose/sites/public-purpose/files/final-bbc-report-6_jan.pdf. Accessed 12 October 2022.
    [Google Scholar]
  55. McCarthy, E.. ( 2021;), ‘ 12 reasons we love true crime, according to the experts. ’, Mental Floss, 10 October, https://www.mentalfloss.com/article/559256/why-we-love-true-crime. Accessed 9 June 2022.
    [Google Scholar]
  56. Michalis, M.. ( 2022;), ‘ Why should we care about media policy?: Critical directions in media policy research. ’, in P. McDonald. (ed.), The Routledge Companion to Media Industries, London:: Routledge;, pp. 6675.
    [Google Scholar]
  57. Moran, A.. ( 2013;), ‘ Global television formats: Genesis and growth. ’, Critical Studies in Television, 8:2, pp. 119.
    [Google Scholar]
  58. N.A. ( 2018;), ‘ #CINÉMA Avant-première de la série Les Innocents. ’, Payspyreneesmediterranee.org, 4 January, https://www.payspyreneesmediterranee.org/thematiques/culture-et-patrimoine/vie-de-la-mission-culture-et-patrimoine/cinema-avant-premiere-de-la-serie-les-innocents.html. Accessed 2 May 2022.
    [Google Scholar]
  59. Nadoleanu, S.. ( 2016;), ‘ Marian Crişan, regizorul-şerif din “Valea Mută”, cea mai nouă producţie HBO România. ’, Life.ro, 26 October, https://life.ro/marian-crisan-regizorul-serif-din-valea-muta-cea-mai-noua-productie-hbo-romania/. Accessed 2 May 2022.
    [Google Scholar]
  60. Napoli, P. M.. ( 2011), Audience Evolution, New York:: Columbia University Press;.
    [Google Scholar]
  61. Nicholson, H. N.. ( 2015;), ‘ Living on location: Amateur creativity and negotiating a sense of place in Yorkshire. ’, in I. Franklin,, H. Chignell, and K. Skoog. (eds), Regional Aesthetics: Mapping UK Media Culture, Basingstoke:: Palgrave Macmillan;, pp. 1734.
    [Google Scholar]
  62. Noor, K. B. M.. ( 2008;), ‘ Case study: A strategic research methodology. ’, American Journal of Applied Sciences, 5:11, pp. 160204.
    [Google Scholar]
  63. Oakley, K., and O’Brien, D.. ( 2016;), ‘ Learning to labour unequally: Understanding the relationship between cultural production, cultural consumption and inequality. ’, Social Identities, 22:5, pp. 47186.
    [Google Scholar]
  64. Redactia TVMania ( 2016a;), ‘ Interviu Emilian Oprea. ’, TVMania, 11 October, https://tvmania.ro/interviu-emilian-oprea-valea-muta-e-locul-in-care-sunt-abordate-subiecte-curajoase-209356.html. Accessed 12 June 2021.
    [Google Scholar]
  65. Redactia TVMania ( 2016b;), ‘ Interviu Rodica Lazăr. ’, TVMania, 11 October, https://tvmania.ro/interviu-rodica-lazar-valea-muta-mi-am-dorit-sa-fac-rolul-asta-inainte-sa-citesc-scenariul-de-la-probe-209354.html. Accessed 12 June 2022.
    [Google Scholar]
  66. Rixon, P.. ( 2012;), ‘ Sherlock: Critical reception by the media. ’, in L. E. Stein, and K. Busse. (eds), Sherlock and Transmedia Fandom, Jefferson, NC:: McFarland & Co.;, pp. 16578.
    [Google Scholar]
  67. Ro Insider ( 2020;), ‘ Romanian TV series worth binge-watching. ’, Romanian-Indiser, 10 April, https://www.romania-insider.com/romanian-tv-series-online-april-2020. Accessed 18 November 2022.
    [Google Scholar]
  68. Splendore, S.. ( 2014;), ‘ Media logic production: How media practitioners in Italian reality television localise TV formats and select entertainment values. ’, The Journal of Popular Television, 2:2, pp. 189204.
    [Google Scholar]
  69. Szczepanik, P.. ( 2020;), ‘ HBO Europe’s original programming in the era of streaming wars. ’, in L. Barra, and M. Scaglioni. (eds), A European Television Fiction Renaissance, New York and London:: Routledge;, pp. 24361.
    [Google Scholar]
  70. Turnbull, S.. ( 2010;), ‘ Crime as entertainment: The case of the TV crime drama. ’, Continuum, 24:6, pp. 81927.
    [Google Scholar]
  71. Turnbull, S.. ( 2015;), ‘ Trafficking in TV crime: Remaking Broadchurch. ’, Continuum, 29:5, pp. 70617.
    [Google Scholar]
  72. Turner, G.. ( 2020;), ‘ Dealing with diversity: Australian television, homogeneity and indigeneity. ’, Media International Australia, 174:1, pp. 2028.
    [Google Scholar]
  73. Varga, B.. ( 2020;), ‘ Familiar, much too familiar…: HBO’s Hungarian original productions and the questions of cultural proximity. ’, in L. Barra, and M. Scaglioni. (eds), A European Television Fiction Renaissance, London and New York:: Routledge;, pp. 27594.
    [Google Scholar]
  74. Waisbord, S.. ( 2004;), ‘ McTV: Understanding the global popularity of television formats. ’, Television & New Media, 5:4, pp. 35983.
    [Google Scholar]
  75. Wayne, M.. ( 2016;), ‘ Critically acclaimed and canceled: The Bridge, channel as brand, and the adaptation of scripted tv formats. ’, VIEW: Journal of European Television History and Culture, 5:9, pp. 11625.
    [Google Scholar]
  76. White, P.. ( 2019;), ‘ Criminal: Netflix sets premiere date for Nicholas Pinnock & Hayley Atwell police interrogation drama. ’, Deadline, 9 August, https://deadline.com/2019/08/criminal-netflix-sets-premiere-date-for-nicholas-pinnock-hayley-atwell-police-interrogation-drama-1202665082/. Accessed 18 November 2022.
    [Google Scholar]
  77. Zeng, W., and Sparks, C.. ( 2017;), ‘ Localization as negotiation: Producing a Korean format in contemporary China. ’, International Journal of Digital Television, 8:1, pp. 8198.
    [Google Scholar]
  78. Antoniazzi, Luca. ( 2022;), ‘ VoD platforms and the diversity of European culture: The case of crime television formats and policy-related considerations. ’, Journal of Digital Media & Policy, article first, https://doi.org/10.1386/jdmp_00113_1
    [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1386/jdmp_00113_1
Loading
/content/journals/10.1386/jdmp_00113_1
Loading

Data & Media loading...

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error