#tv formats

[smartmonkeytv]

Ebenezer Owoeye,  Genesis Studios on its series Tales of Eve about challenges faced by African women  

[scannain]

#Industry: Women in Film & Television Ireland present TV Formats: The What, Why & How on June 1st

Women in Film & Television Ireland (WFTi) present, in association with RTE, TV Formats: The What, Why & How, a seminar to help navigate the world of TV formats. TV Formats have become a hugely popular way of producing for TV over the last number of years, with so many hit franchises now moving from territory to territory and being sold to networks all over the world.

But they can be a tricky to…

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[newmediavision]

HOME TO THE INTERNATIONAL ENTERTAINMENT COMMUNITY

NMV looks at Life after Laura

[jaybushman]

I want more...

...6-hour miniseries in one hour episodes, and half-hour dramas. I would watch the fuck out of these.

Srsly - 4 1-hour eps is too short (I'm looking at you Olive Kitteridge), but 6 is perfect. See BBC's The Game, The Hour, or heck pretty much most of high-end British TV. 

And I plowed through Transparent and Amazon in the Jungle. Half hour shows are somehow more compelling to binge watch than hours - not quite sure why but its something I'm going to be thinking a lot about. So more 30 minute shows that aren't sitcoms, pls! 

[muzikmuzik]

Tv Formats

Tv Formats 

[smartmonkeytv]

Martin Munyua on how Dads Can Can Cook came to be made and the kind of things the Dads cook 

[storytechlife]

Is the pervasiveness of social media killing the global TV format?

The rise of the global entertainment format, from Big Brother to The X Factor, was made possible by the parallel rise of global social media platforms – from Compuserve forums to Twitter - underpinned by the globalization of online video through YouTube. Fans started by sharing the moments they loved the best, and those on the receiving end felt a sense of belonging when recognizing that this young Bulgarian girl, or this Korean orphan, were actors in a show that they had, in a very similar form, on their screens. Soon mainstream media caught on and started asking whether such and such candidate was 'America’s answer to Susan Boyle' or 'France’s very own Kelly Clarkson'.

But the global entertainment format is on the wane, with the last truly major success, The Voice, already a few years old and no obvious replacement. Shows that were once lynchpins of the schedule are being cancelled or at the very least showing signs of fatigue.

Could it be that the novelty of the global village has worn off, and that people are moving on to something new – the global niche? The most successful shows of the last couple of years would almost all have been considered “genre” shows, from Deadliest Catch (now in its 9th season, and distributed in 150 countries) to Honey Boo Boo, to Game of Thrones.

Finding and sharing social media content used to be a specific tribe’s behavior – call them early adopters, geeks, or Ashton Kutcher’s fans. They were on Facebook before you, then they moved to Twitter before you. But with their grandmother now putting her favourite bits of Got Talent on YouTube, these guys have had to move on – and make discovery of content, rather than platform, their point of difference.

Of course, there is a cyclical effect at work, and there have been cult finds in the last ten years as well (my favourite is still Veronica Mars). But in the past these finds were curated by professionals, TV critics who told you there was something worth watching. Whereas now, your social media circle, once the people who told you to watch Fear Factor, are talking to you about Duck Dynasty.

The risk is that to cater to these new, fickle, hip audiences, TV broadcasters go too far in the high-concept and the elitist. Finding the right balance between mainstream and trendy has proven elusive for the US networks over the last few years. It will be interesting to see what the May upfront bring up.

[smartmonkeytv]

Natalie Nennig on New Flemish Media Primitives' TV format, That's My....