His research and teaching interests include TV studies, memory and audience research; Spanish and Andalusian television history and culture transnational and regional comparisons , and broadcast journalism. His main research interests are media and cultural globalization, trans-Asian media culture connections, multicultural questions and cultural citizenship in East Asia. His forthcoming book examines trans-Asian media culture connections in terms of the international governance of cultural diversity. Her research evolves around the role of media in globalisation processes and her research topics include international TV program formats and genres, local media systemic conditions, and production and industry analyses.
He has published and presented on a range of subjects, though largely associated with genre, media history and the connections between media texts and wider cultural movements. He is currently lecturing at the University of Portsmouth. His published and ongoing research in Comparative Literature explores the work of the French author Marguerite Yourcenar from the double vantage point of poststructural literary criticism and existentialist philosophy. Dionysios has been a professional translator for twenty years.
He continues to work as film subtitler — a topic that he also teaches to postgraduate students at Roehampton. She completed her dissertation on the early commercial television in Finland at the University of Tampere in After that, she was employed as University Lecturer teaching media history, media culture and media education. In her current research project she studies the structures, agents and practices of Finnish television format import and adaptation from the s to the s.
Her other research interests include broadcasting, television history, television drama and television-based multi-platform productions. He has more than 15 years of extensive professional experience in television entertainment and news as executive producer, consultant and trainer in the Arab world.
Khalil has authored a policy monograph on Arab satellite entertainment television and public diplomacy and is also co-author of Arab Television Industries Palgrave Macmillan, He teaches courses on Arab media industries, program development and global media. Research interests include the transnational especially audio-visual translation , aesthetics and medium specificity, representations of gender and the body, and postmodernism. He is specialized in the audiovisual translation of humor and has over forty publications, including five books, several book chapters and many other pieces of research in the form of articles in prestigious scientific journals.
Max is very knowledgeable in compliance. He is well versed in UK broadcast regulation Ofcom and international cultural sensitivities. Max has a wealth experience of editing and scripting for compliance, as well as editorial repurposing of content for new channels and territories. Currently Max is developing a number of new services for Crow TV including digital content file delivery, and compliance reversioning for broadcast television.
She has been granted a collaboration scholarship with a Master degree in Teaching secondary education, vocational training, foreign languages teaching, etc. Furthermore, she studies Chinese at the official languages institute within the Universidad de Sevilla. She has also been awarded with a grant of the Japan Foundation for specialist in cultural and academic fields in order to continue her research on Japanese culture transfer in translated media products in Japan.
He has overseen local productions of BOOM! Her research interests are the international television flows, especially the impact they have in British and Spanish television market, Video on Demand services and European television programming. He holds a PhD from the University of Oslo. His research interests cover a number of areas within media and communication studies in Africa and in Europe as well as organizational communication. His recent publications include Global Television Formats in Africa. Understanding Television Across Borders, Routledge. He sits in the editorial board of the Journal of African Media Studies.
Video : Click Here Jose M. As a translator, he has collaborated with Nanikano Fansub , adapting japanese animation series.
Television in Europe - Television Studies - Research Guides at Dartmouth College
He worked for Nintendo in and has studied Japanese at Universidad de Sevilla. With over 15 years experience working in television production, Simon specialises in entertainment television and is based in London. She holds a Ph. Most recently she has been focusing her attention on audiences of television talent shows, their meaning-making practices in relation to issues of national- and self-identity and the impact of the use of social media Facebook on these practices.
Video : Click Here. Joe F.
Transnational Television in Europe: Reconfiguring Global Communications Networks
Jose M. Sharon Shahaf Ph. Her current book project Israeli Television and Global TV Formats takes up contemporary and historic case studies in Israeli television to critically explore the role played by global formal or conceptual flows in television globalization. In her role, Sonia leads a team who focus on international production for a portion of DIMG games titles released in console, handheld and mobile platforms.
Her team is involved in text translation, adaptation and recording in up to 19 languages. Miriam Stehling is a post-doctoral research fellow at the University of Tubingen, Germany. In , she completed her doctoral thesis on TV Formats and their audiences in different cultural contexts at the Institute of Communications and Media Culture at Leuphana University Lueneburg. She has an M. Her research interests include media culture and communication, reality television, cross- and trans-cultural research, cultural studies, gender studies and governmentality studies.
As a side project, he is currently working on a piece about Nordic Noir and its transnational format iterations. Tobias currently acts as postgraduate representative of ECREA's Television Studies section and is enthusiastic about all things Complex television, both as a fan and a Cultural Studies-focused academic. Sylwia Szostak gained her Ph. It examines the impact of international media flows on Polish television in the post-Soviet era, with particular attention to the influence of American fiction television.
Upon completion of her Ph.
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She currently works in the TV industry in Poland. She is currently doing research about Western TV formats in the Chinese media environment. Her research interests include culture and media, the globalization of TV formats, reality TV, new media and media convergence. Currently, he is part of the research project What makes Danish TV drama travel? In relation to the research project Crime fiction and crime journalism in Scandinavia he has published several articles on crime fiction and the book Murder and Metaphysics DK, His current research interests are regionalization and internationalization of Danish television drama, early Danish film theory, and Danish independent film.
He is the co-editor in chief of the research journal Academic Quarter and the editor in chief of the online review journal Kulturkapellet. He has been teaching media studies on all levels since His research interests include "cultural transduction" and other forms in which audiovisual products travel through different cultural spaces. He has published in Spanish and English on the theoretical construction of the cultural transduction framework, and on adaptations of Colombian products abroad — such as Yo soy Betty, la fea RCN, Currently, he is undertaking research on recent Latinamerican TV series adapted abroad, and on the production of Latinamerican videogames with a global appeal.
Her research interests include theoretical and methodological approach to circulation in media society, the spread of Japanese media culture and 'Cool Japan', as well as use of media in nation branding. Her recent publications include A Brand New Future? Cool Japan and the social imaginary of the branded nation. In Sonja Kangas ed. Digital Pioneers. Tracing the cultural drivers of future media culture.
Nuorisotutkimusseura verkkojulkaisuja 49, She is currently editing a special section on circulation for the European Journal of Cultural Studies together with Johanna Sumiala. Since , she lectures at the ULPGC and ULL, where she imparts courses on Multimedia Translation, Audiovisual Translation and Software and Videogames Localisation, and she has published several articles focused in multimedia accessibility and the academic training of videogames translators. Her research interests include Videogames localisation, Accessibility to the Media and Professional training of videogame localisers.
A seasoned international consultant producer, writer, director and developer he has had a hand in over 50 successful titles in over 20 different markets, most notably in the US, China, South Korea, Australia, The Nordics, Germany, South Africa, Indonesia and South America. Formerly the Director of Format Development and Production at ITV, he is currently the managing director of The Global Content Agency, who provide specialist development and production consultancy and training all over the world. Xiaochun Zhang is a research assistant at the University of Vienna, Austria.
Her research interests lie primarily in audiovisual translation with a specific interest in digital game localization. Other areas of interest include language technology and terminology management. She has several publications on game localisation and film subtitling in the context of China. The four female veejays were used to promote the new channel in the Dutch media far more than their male colleagues.
Two screenshots of the early TMF logos from and , respectively. Yet to perceive TMF as a direct copy of MTV ignores that the MTV aesthetic was a major source in the shaping of global teenage pop culture—thus also in the Netherlands—and as such had become the dominant form of music television. To what extent their success can be ascribed to the exposure on TMF is difficult to assess, but the late s saw a significant increase in popularity of Dutch pop artists, whether they were singing in English, such as Anouk, Total Touch, and Ilse DeLange, or in Dutch, such as Marco Borsato, Guus Meeuwis, Volumia!
Unlike the Dutch pop artists before them and prompted by the platform provided by TMF, these artists released music videos for most of their singles. Before TMF, Dutch music videos received too little exposure to make their production profitable. Since the last two years, many more Dutch pop acts made the charts. I do believe that TMF has contributed to that.
Although in absolute numbers the Netherlands and Belgium had the most households with a cable television connection within Europe, actual space on cable was limited. The decision of which television channels to include differed from one municipality to another and often depended on local politics. This placed the two channels in a contradictory position. On the one hand, TMF and MTV Europe were competitors trying to convince local politicians that the one was more popular than the other among young Dutch viewers.
Both channels launched local advertising campaigns and organised live music events to increase their popularity. On the other hand, TMF and MTV Europe had a shared interest in showing that the two music television channels actually were complementary to each other. Instead of replacing MTV with TMF, or vice versa, local governments could make room for both music television channels by excluding other television channels—such as the German RTL or the Italian Rai 1—from the local cable offering.
To make matters even more complicated, in , MTV Europe had announced that the channel was planning to start demanding a transmission fee, as was common in many other countries, but not yet in the Netherlands. One prominent example is the city of Tilburg, where the exclusion of MTV Europe resulted in a two-year political battle, largely prompted by local protests movements organised on both sides.
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As the protesters argued, without MTV, Tilburg could no longer aspire to be an international centre of serious pop music. Eventually, the city of Tilburg decided that having two pop music television channels would be the most preferable. Whereas in Tilburg the choice between TMF and MTV Europe was a matter of local politics, in The Hague the battle between the two music television channels, as well as the cable company Casema, was fought out in court with a two-year series of summary proceedings between and At first, the court decided in favour of TMF, but the decision was soon overruled.
Instead, Casema was ordered to conduct a questionnaire among viewers between 16 and 34 years old to let the viewers decide which channel should be made available.
What stands out in the battles between TMF and MTV Europe is that both channels seemed to agree on what made the one significantly different than the other. Instead of a distinction along the lines of nationality Dutch versus American, local versus global , the emphasis was placed on the difference of targeted audience and musical taste.
Moreover, the media eagerly repeated the distinction. MTV tries to elevate its audience by interrupting the flow of music videos with short art films, or with socially relevant topics such as AIDS, human rights, and the environment. TMF, in contrast, presents 24 hours of happiness and fun. The channel has no other pretention than to please the viewer as much as possible. The subcultures that are best served by MTV are those whose members like rock music: punk, alto, metal and skater.
To lament about the lack of music videos on MTV has become a popular practice by both regular viewers and media scholars over the last two decades. Though it is quite the contrary: not only has the number of digital music television channels increased, serving a wide range of niche audiences, the music video also has moved to other digital media platforms. Here, two different yet related transformations come together. First, MTV NL became exemplary of the shift from music television to non-music long-form programming.
Although returning to the original form of music television consisting of a continuous flow of music videos interspersed with commercials, a new layer was added in the form of a text bar at the bottom of the screen. In this way, a connection was made between the television, personal computer, and mobile phone. TMF introduced new programs that invited active contributions by the viewers, such as CyberChoice , enabling viewers to request music videos and SMS Photo Chat , enabling viewers to comment on the music video or discuss other relevant topics, with the comments shown on the text bar.
According to TMF, the channel received 50, text messages.