Karina Aveyard is a lecturer in the School of Film, Television and Media at the University of East Anglia. Her essays have been published in Media International Australia, Participations and Studies in Australasian Cinema, and she is co-editor of a forthcoming collection titled Watching Films: New Perspectives on Movie-Going, Exhibition and Reception (Intellect Books, 2013) Karina’s research interests include rural and community cinemas, exhibition and distribution and Australian films.

• AcknowledgementsForewordToby MillerIntroduction: A Changing Format MosaicKarina Aveyard, Pia Majbritt Jensen and Albert MoranPart 1: OverviewsChapter 1: Television Format as a Transnational Production ModelMats NylundChapter 2: The Hybrid Status of Global Television FormatsClaudio ColettaChapter 3: Formatting Reality: On Reality Television as a Format, a Genre and a Meta-GenreDaniel Biltereyst and Lennart SoberonChapter 4: Seventy Years in the Making: The Advent of the Transnational Television Format Trading SystemJean K. ChalabyPart 2: HistoryChapter 5: Medea’s Children: The Italian Version of The War of the WorldsMilly BuonannoChapter 6: Cultural Negotiation in an Early Programme Format: The Finnish Adaptation of Romper RoomHeidi KeinonenChapter 7: Song Contests in Europe during the Cold WarYulia Yurtaeva and Lothar MikosChapter 8: “Do It, but Do It Dancing!”: Television and Format Adaptations in Colombia in the 1980s and Early 1990sHernan David Espinosa‑Medina and Enrique Uribe‑JongbloedPart 3: Industry Players, Big and SmallChapter 9: From Marginal Trader to Corporate Giant: The Emergence of FremantleMediaAlbert Moran and Karina AveyardChapter 10: Formats and Localization in the Children’s Audiovisual SectorJeanette SteemersChapter 11: Wallander at the BBC: Trading Fiction Formats and Producing Culture for UK Public Service Broadcasting in the Contemporary AgeJanet McCabeChapter 12: Television Formats as Media Ritual Work Practices: Discourses of Freedom, Nationalism and Good NeighboursTiina RäisäPart 4: Territories and MarketsChapter 13: The Social Contexts of Format Adaptation: Remaking Formats to Fit in ChinaMichael Keane and Coco MaChapter 14: The Political Economy of Television Formats in Africa: The Case of Big Brother and IdolsMartin Nkosi NdlelaChapter 15: Global Reality Television and the Concept of Recursion: Idols in African ContextsTess ConnerChapter 16: Decentring Innovation: The Israeli Television Industry and the Format-driven Transnational Turn in Content DevelopmentSharon ShahafPart 5: Producers and AudiencesChapter 17: Take a Look at the Lawman: Interrogating Critical Responses to the US Version of Life on MarsChristopher HoggChapter 18: Sense of Place: Producers and Audiences of International Drama Format at The BridgeAnnette HillChapter 19: The Duality of Banal Transnationalism and Banal Nationalism: Television Audiences and the Musical Talent Competition GenreAndrea Esser, Pia Majbritt Jensen, Heidi Keinonen and Anna Maria LemorChapter 20: The Voice of Queer Italy: The Politics of the the Representation of GLBTQI (Gay, Lesbian, Bisexual, Transgender, Queer and Intersexual) Characters in Italian Talent Shows and Their Reception in Online DiscussionsElisa Giomi and Marta PerrottaAbout the ContributorsIndex

Karina Aveyard is a lecturer in the School of Film, Television and Media at the University of East Anglia. Her essays have been published in Media International Australia, Participations and Studies in Australasian Cinema, and she is co-editor of a forthcoming collection titled Watching Films: New Perspectives on Movie-Going, Exhibition and Reception (Intellect Books, 2013) Karina’s research interests include rural and community cinemas, exhibition and distribution and Australian films.

• AcknowledgementsForewordToby MillerIntroduction: A Changing Format MosaicKarina Aveyard, Pia Majbritt Jensen and Albert MoranPart 1: OverviewsChapter 1: Television Format as a Transnational Production ModelMats NylundChapter 2: The Hybrid Status of Global Television FormatsClaudio ColettaChapter 3: Formatting Reality: On Reality Television as a Format, a Genre and a Meta-GenreDaniel Biltereyst and Lennart SoberonChapter 4: Seventy Years in the Making: The Advent of the Transnational Television Format Trading SystemJean K. ChalabyPart 2: HistoryChapter 5: Medea’s Children: The Italian Version of The War of the WorldsMilly BuonannoChapter 6: Cultural Negotiation in an Early Programme Format: The Finnish Adaptation of Romper RoomHeidi KeinonenChapter 7: Song Contests in Europe during the Cold WarYulia Yurtaeva and Lothar MikosChapter 8: “Do It, but Do It Dancing!”: Television and Format Adaptations in Colombia in the 1980s and Early 1990sHernan David Espinosa‑Medina and Enrique Uribe‑JongbloedPart 3: Industry Players, Big and SmallChapter 9: From Marginal Trader to Corporate Giant: The Emergence of FremantleMediaAlbert Moran and Karina AveyardChapter 10: Formats and Localization in the Children’s Audiovisual SectorJeanette SteemersChapter 11: Wallander at the BBC: Trading Fiction Formats and Producing Culture for UK Public Service Broadcasting in the Contemporary AgeJanet McCabeChapter 12: Television Formats as Media Ritual Work Practices: Discourses of Freedom, Nationalism and Good NeighboursTiina RäisäPart 4: Territories and MarketsChapter 13: The Social Contexts of Format Adaptation: Remaking Formats to Fit in ChinaMichael Keane and Coco MaChapter 14: The Political Economy of Television Formats in Africa: The Case of Big Brother and IdolsMartin Nkosi NdlelaChapter 15: Global Reality Television and the Concept of Recursion: Idols in African ContextsTess ConnerChapter 16: Decentring Innovation: The Israeli Television Industry and the Format-driven Transnational Turn in Content DevelopmentSharon ShahafPart 5: Producers and AudiencesChapter 17: Take a Look at the Lawman: Interrogating Critical Responses to the US Version of Life on MarsChristopher HoggChapter 18: Sense of Place: Producers and Audiences of International Drama Format at The BridgeAnnette HillChapter 19: The Duality of Banal Transnationalism and Banal Nationalism: Television Audiences and the Musical Talent Competition GenreAndrea Esser, Pia Majbritt Jensen, Heidi Keinonen and Anna Maria LemorChapter 20: The Voice of Queer Italy: The Politics of the the Representation of GLBTQI (Gay, Lesbian, Bisexual, Transgender, Queer and Intersexual) Characters in Italian Talent Shows and Their Reception in Online DiscussionsElisa Giomi and Marta PerrottaAbout the ContributorsIndex

Karina Aveyard is a lecturer in the School of Film, Television and Media at the University of East Anglia. Her essays have been published in Media International Australia, Participations and Studies in Australasian Cinema, and she is co-editor of a forthcoming collection titled Watching Films: New Perspectives on Movie-Going, Exhibition and Reception (Intellect Books, 2013) Karina’s research interests include rural and community cinemas, exhibition and distribution and Australian films.

• AcknowledgementsForewordToby MillerIntroduction: A Changing Format MosaicKarina Aveyard, Pia Majbritt Jensen and Albert MoranPart 1: OverviewsChapter 1: Television Format as a Transnational Production ModelMats NylundChapter 2: The Hybrid Status of Global Television FormatsClaudio ColettaChapter 3: Formatting Reality: On Reality Television as a Format, a Genre and a Meta-GenreDaniel Biltereyst and Lennart SoberonChapter 4: Seventy Years in the Making: The Advent of the Transnational Television Format Trading SystemJean K. ChalabyPart 2: HistoryChapter 5: Medea’s Children: The Italian Version of The War of the WorldsMilly BuonannoChapter 6: Cultural Negotiation in an Early Programme Format: The Finnish Adaptation of Romper RoomHeidi KeinonenChapter 7: Song Contests in Europe during the Cold WarYulia Yurtaeva and Lothar MikosChapter 8: “Do It, but Do It Dancing!”: Television and Format Adaptations in Colombia in the 1980s and Early 1990sHernan David Espinosa‑Medina and Enrique Uribe‑JongbloedPart 3: Industry Players, Big and SmallChapter 9: From Marginal Trader to Corporate Giant: The Emergence of FremantleMediaAlbert Moran and Karina AveyardChapter 10: Formats and Localization in the Children’s Audiovisual SectorJeanette SteemersChapter 11: Wallander at the BBC: Trading Fiction Formats and Producing Culture for UK Public Service Broadcasting in the Contemporary AgeJanet McCabeChapter 12: Television Formats as Media Ritual Work Practices: Discourses of Freedom, Nationalism and Good NeighboursTiina RäisäPart 4: Territories and MarketsChapter 13: The Social Contexts of Format Adaptation: Remaking Formats to Fit in ChinaMichael Keane and Coco MaChapter 14: The Political Economy of Television Formats in Africa: The Case of Big Brother and IdolsMartin Nkosi NdlelaChapter 15: Global Reality Television and the Concept of Recursion: Idols in African ContextsTess ConnerChapter 16: Decentring Innovation: The Israeli Television Industry and the Format-driven Transnational Turn in Content DevelopmentSharon ShahafPart 5: Producers and AudiencesChapter 17: Take a Look at the Lawman: Interrogating Critical Responses to the US Version of Life on MarsChristopher HoggChapter 18: Sense of Place: Producers and Audiences of International Drama Format at The BridgeAnnette HillChapter 19: The Duality of Banal Transnationalism and Banal Nationalism: Television Audiences and the Musical Talent Competition GenreAndrea Esser, Pia Majbritt Jensen, Heidi Keinonen and Anna Maria LemorChapter 20: The Voice of Queer Italy: The Politics of the the Representation of GLBTQI (Gay, Lesbian, Bisexual, Transgender, Queer and Intersexual) Characters in Italian Talent Shows and Their Reception in Online DiscussionsElisa Giomi and Marta PerrottaAbout the ContributorsIndex