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W Ants to Be W Ants to Be a Millionaire KULTURELLE PRÄGUNG DER UNTERHALTUNG IM INTERNATIONALEN VERGLEICH BEI ,WHO WANTS TO BE A MILLIONAIRE?̒ Who Wants to GLEICHES FORMAT – DIffERENTE ÄSTHETIK Wants to Be a Millionaire Be a Millionaire? Anne-Kristin Langner Wants to Be to Wants Who Wants to Be Who Wants to Be a Millio to Who Wants Wants to Be a Millionaire? - Impressum Dieses Werk ist mit der Creative-Commons-Nutzungslizenz «Namensnennung – Nicht kommerziell – Keine Bearbeitung 3.0 Deutschland» versehen. Weitere Informationen finden sind unter: http://creativecommons.org/licenses/by-nc-nd/3.0/de Universitätsverlag Hildesheim Universitätsplatz 1 31141 Hildesheim https://www.uni-hildesheim.de/bibliothek/publizieren/open-access-universitaetsverlag/ Erstausgabe Hildesheim 2016 Redaktion & Satz: Anne-Kristin Langner Titelblatt: Mario Müller, Universitätsverlag Hildesheim ISBN-A (Internet) 10.978.3934105/782 Dissertation Zur Erlangung des Grades einer Doktorin der Philosophie [Dr. phil.] am Fachbereich Kulturwissenschaften und ästhetische Kommunikation der Universität Hildesheim Kulturelle Prägung der Unterhaltung im internationalen Vergleich bei ‚Who Wants to Be a Millionaire?‘ Gleiches Format - differente Ästhetik vorgelegt von Anne-Kristin Langner geboren am 30.11.1981 in Peine 30. April 2015 – Datum der Disputation Erstgutachter: Prof. Dr. i. R. Hans-Otto Hügel Zweitgutachter: Prof. Dr. Eggo Müller Zusammenfassung Die Dissertation „Kulturelle Prägung der Unterhaltung im internationalen Vergleich bei ‚Who Wants to Be a Millionaire?‘ Gleiches Format – differente Ästhetik“ geht von der Fragestellung aus, ob sich die Adaptions-, vor allem aber die Rezeptionsweisen des Quizformats ‚Who Wants to Be a Millionaire?‘ in Deutschland, England, Irland und Schweden unterscheiden und ob diese Differenzen oder Gemeinsamkeiten kul- turell erklärt werden können. Ausgehend von den Kulturdimensionen nach Hofste- de, werden generelle kulturelle Charakteristika der vier Länder untersucht um an- schließend zu analysieren, inwieweit sich diese Charakteristika auch in der Rezepti- on und Adaption des Formats wiederfinden. Dabei wird nicht nur von sozialer Be- dürfnisbefriedigung seitens der Rezipienten über die Rezeption von TV-Shows aus- gegangen, sondern auch von einer ästhetischen Eigenheit des Artefakts, um so die massenmediale Rezeption vollständig erfassen zu können. Die Grundlage für diese Betrachtung ist der Unterhaltungsbegriff der ästhetischen Zweideutigkeit. Für die Untersuchung werden theoretische, hermeneutische und empirische Methoden kombiniert: Neben der Sichtung der einschlägigen Literatur wird Bildmaterial von den zu untersuchenden TV-Shows gesammelt und gesichtet sowie Zuschauer und Experten zu den drei Shows befragt. Ziel der Arbeit ist es, ein Modell vorzuschlagen, mit dem europaweit die Rezeption dieses Formats (und vielleicht auch von TV- Formaten generell) untersucht und verglichen werden kann. Abstract The doctoral thesis “Kulturelle Prägung der Unterhaltung im internationalen Ver- gleich bei ‚Who Wants to Be a Millionaire?‘ Gleiches Format – differente Ästhetik” deals with the question whether there is a difference between adaption and percep- tion of the TV quiz format ‘Who Wants to Be a Millionaire?’ in Germany, England, Ireland and Sweden. Could this these differences and similarities be explained – in- stead of merely described - taking culture into consideration? The bases for the cul- tural analysis are the cultural dimensions by Hofstede. The analysis deals with gen- eral cultural characteristics of the countries and continues with the question to which extent these characteristics can be found in the adaptation and reception of the for- mat. Not only will the analysis explore the social need satisfaction of the recipients through watching TV-shows, but also the aesthetic meaning of the popular objects – that leads to an entire acquisition of mass media perception. The base for this re- search is the term “entertainment” in the sense of an aesthetic ambiguity. Within the analysis, theoretical, hermeneutical and empirical methods will be combined. That includes the classification of the relevant literature and the collection and classifica- tion of video material. Further, recipients and experts of the three shows will be con- sulted within empirical interviews. The aim of this project is to develop a model that can be used to analyse and compare the perception of this TV quiz format (and may- be even TV formats in general) within the whole Europe. „Das ganze Leben ist ein Quiz und wir sind nur die Kandidaten. Das ganze Leben ist ein Quiz ja, und wir raten, raten, raten.“ - Hape Kerkeling in Kein Pardon „Am Ende gewinnen immer die Wahnsinnigen.“ - Günther Jauch über Wer wird Millionär? Inhaltsverzeichnis „Herzlich willkommen und guten Abend zu Wer wird Millionär?” Vorwort ............................ 1 I. „Fastest Finger First“ Einleitung ............................................................................................... 4 1. Untersuchungsgegenstand ...................................................................................................... 4 2. Forschungsinteresse ................................................................................................................. 7 3. Methodik und Anforderungen ............................................................................................... 9 4. Empirische Grundlagen ......................................................................................................... 19 5. Begriffsdefinitionen ................................................................................................................ 25 6. Stand der Forschung .............................................................................................................. 28 6.1 Who Wants to Be a Millionaire? als Beipiel für….......................................................... 29 6.2 Die interkulturell ausgerichtete Unterhaltungsforschung zu Who Wants to Be a Millionaire? ................................................................................................................................... 35 II. „Hätten Sie’s gewusst?“ Who Wants to Be a Millionaire? – Geschichte, Format und Kontext ................................................................................................................................................. 39 1. Entwicklung der Quizshow in den USA ............................................................................. 39 2. Entwicklung der Quizshow in den verglichenen Kulturen ............................................. 44 2.1 Deutschland..................................................................................................................... 45 2.2 Großbritannien ................................................................................................................ 50 2.3 Irland ................................................................................................................................ 57 2.4 Schweden ......................................................................................................................... 62 2.5 Auf dem Weg zum Formathandel ............................................................................... 72 3. Formathandel .......................................................................................................................... 76 3.1 Nationale Anpassungen und internationaler Wiedererkennungswert .................. 82 3.2 Medienaneignung als kultureller Prozess................................................................... 88 4. Das Format Who Wants to Be a Millionaire? ......................................................................... 93 4.1 Konzept und Spielregeln ............................................................................................... 93 4.2 Besonderheiten der nationalen Adaptionen ............................................................... 97 4.3 Die Moderatoren ........................................................................................................... 107 5. Vom Format zur Kultur ....................................................................................................... 111 III. “I don’t think it’s designed for [foreign viewing]” Kultur- und Unterhaltungstheorien bei Who Wants to Be a Millionaire? .................................................................................................. 114 1. Der Kulturbegriff .................................................................................................................. 114 2. Ansätze der Unterhaltungstheorie ..................................................................................... 121 3. Die Struktur von Quizshows .............................................................................................. 139 IV. „Also ich würd ’s schon als Wissensquiz beschreiben […]“ Hermeneutische und empirische Untersuchung ............................................................................................................... 163 1. Kulturelle Organisationsformen ........................................................................................ 163 1.1 Schwedische Besonderheiten ...................................................................................... 167 1.2 Individualismus und Kollektivismus ........................................................................ 174 1.3 Maskulinität und Femininität ..................................................................................... 198 1.4 Unsicherheitsvermeidung
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