The Industry Practices Behind the Presence of Imported Television Content: a Comparative Study of Spain and the United Kingdom
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The Industry Practices Behind the Presence of Imported Television Content: A Comparative Study of Spain and the United Kingdom Celina Navarro Director: Emili Prado Departament de Comunicació Audiovisual i Publicitat Facultat de Ciències de la Comunicació Universitat Autònoma de Barcelona Bellaterra, March 2017 2 ACKNOWLEDGMENTS Firstly, I would like to express my gratitude to my supervisor Emili Prado, who has helped me navigate this thesis with his knowledge and guidance. I would like to thank my colleagues of the Department de Comunicació Audiovisual i Publicitat and GRISS. In particular, I would like to thank Belén for her support and care throughout all the three years of this dissertation, Núria and Mati for their energy and help, Isabel for our mutual understanding and Luisa and Sheila for sharing this journey with me. I am also grateful for the hospitality and advice received during my research stays in the University of Roehampton with Andrea Esser and Paul Rixon and in the Instituto Universitário de Lisboa with Gustavo Cardoso. I would also like to thank the industry executives in Barcelona, Madrid and London that have taken the time to help me and collaborate with the results of this dissertation. Finally, this thesis would have not been possible without the constant support of my family and friends. To my parents, who have encouraged me to work hard and have shown me that there are no limits. To my sister Laia, for always being at my side and sharing all the steps in life. To my grandparents, for expressing their love and support. To Marta, for the daily encouragement and laughter. To Mark, for his patience and his help making these pages more fluent. And to my friends, in Barcelona or further away, that have made these years more enjoyable, in particular to Anna, Carme, Debora, Laura and Maria. 3 4 CONTENTS Acknowledgments ............................................................................................................ 3 Contents ........................................................................................................................... 5 List of tables .................................................................................................................... 11 List of charts ................................................................................................................... 12 List of figures .................................................................................................................. 13 List of country abbreviations .......................................................................................... 14 Abstract .......................................................................................................................... 17 Resumen ......................................................................................................................... 19 INTRODUCTION ...................................................................................................... 21 Outline of the chapters ........................................................................................................... 24 PART I - THEORETICAL FRAMEWORK 1. TELEVISION FLOWS ............................................................................................. 29 1.1. Researching television flows ............................................................................................ 30 1.1.1. Cultural studies.......................................................................................................... 30 1.1.2. Political economy ...................................................................................................... 31 1.1.3 Middle-range approach .............................................................................................. 32 1.2. Local cultures and identities ............................................................................................ 32 1.2.1. Local identities as the reason to protect local television markets ............................ 34 1.3. Global versus Local ........................................................................................................... 36 1.3.1. The fears of homogenisation .................................................................................... 38 1.3.1.1. Media imperialism .............................................................................................. 38 1.3.1.2. Media imperialism in Europe ............................................................................. 42 1.3.1.3. Americanisation ................................................................................................. 43 1.3.2. Global diversity .......................................................................................................... 43 1.3.2.1. Indigenisation ..................................................................................................... 44 5 1.3.2.2. Glocalisation ....................................................................................................... 45 1.3.2.3. Hybridisation ...................................................................................................... 46 1.3.3. Deterritorialisation .................................................................................................... 47 1.3.4. Transnationalisation .................................................................................................. 48 1.4. Europeanisation ............................................................................................................... 49 1.5. Partial conclusions: Local television markets as part of a transnational context ............ 51 2. THE ACQUISITION PROCESS ................................................................................ 53 2.1. The television content value chain .................................................................................. 53 2.1.1. The production segment ........................................................................................... 55 2.1.2. The distribution segment .......................................................................................... 56 2.1.2.1. Exhibition windows of audiovisual programmes ............................................... 57 2.1.3. The content aggregation segment ............................................................................ 61 2.1.3.1. The television market as a ‘buyer-driven’ chain ................................................ 61 2.1.4. The viewer segment .................................................................................................. 62 2.2. Acquisitions Executives as cultural intermediaries .......................................................... 63 2.3. Conditioners of the acquisition process ..........................................................................