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KANG-THESIS.Pdf (614.4Kb) Copyright by Jennifer Minsoo Kang 2012 The Thesis Committee for Jennifer Minsoo Kang Certifies that this is the approved version of the following thesis: From Illegal Copying to Licensed Formats: An Overview of Imported Format Flows into Korea 1999-2011 APPROVED BY SUPERVISING COMMITTEE: Supervisor: Joseph D. Straubhaar Karin G. Wilkins From Illegal Copying to Licensed Formats: An Overview of Imported Format Flows into Korea 1999-2011 by Jennifer Minsoo Kang, B.A.; M.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2012 Dedication To my family; my parents, sister and brother Abstract From Illegal Copying to Licensed Formats: An Overview of Imported Format Flows into Korea 1999-2011 Jennifer Minsoo Kang, M.A. The University of Texas at Austin, 2012 Supervisor: Joseph D. Straubhaar The format program trade has grown rapidly in the past decade and has become an important part of the global television market. This study aimed to give an understanding of this phenomenon by examining how global formats enter and become incorporated into the national media market through a case study analysis on the Korean format market. Analyses were done to see how the historical background influenced the imported format flows, how the format flows changed after the media liberalization period, and how the format uses changed from illegal copying to partial formats to whole licensed formats. Overall, the results of this study suggest that the global format program flows are different from the whole ‘canned’ program flows because of the adaptation processes, which is a form of hybridity, the formats go through. Previous studies tend to simplify the adaptation process of format programs by just seeing it as a proof of v nationalization, but this study found that format adaptations are much complicated. The way the formats were adapted to the local context differed by specific situations, such as cultural proximity, political ties with other countries, channel identities, target audiences, format genres, or conditions of the format license contracts. Moreover, there were also differences in where the initiative to make such adaptations came from. Thus, this study argues that format program flows are one of the many sub-flows in television program flows which complicate our understanding of what ‘global’ media is. vi Table of Contents List of Tables ......................................................................................................... ix List of Figures ..........................................................................................................x Chapter 1: Introduction ............................................................................................1 Chapter 2: Literature Review ...................................................................................6 The Landscape of Korean Television .............................................................6 International Flows of Content .....................................................................11 Format Programs ...........................................................................................18 Background to Formats ........................................................................18 Research on Formats ............................................................................23 Chapter 3: Research Questions and Methodology .................................................28 Chapter 4: The Inflow of Formats .........................................................................34 Global Production Markets and The Korean Wave ......................................34 Deregulation of The Program Quotas ...........................................................36 Higher Competition ......................................................................................43 Economic Situation .......................................................................................47 Chapter 5: Changes in the Format Programs Flows ..............................................51 Imported Formats and Channels ...................................................................51 Genres of the Imported Formats ...................................................................61 Origins of the Imported Formats...................................................................64 Formats and the Japanese Cultural Ban ........................................................68 Chapter 6: From Illegal Copying to Licensed Formats .........................................73 Illegal Copying: 1997-1999 ..........................................................................74 Partial Formats: 2002-2008...........................................................................80 Licensed Formats: 2007-2011.......................................................................89 vii Chapter 7: Conclusion..........................................................................................104 Appendix A ..........................................................................................................115 Appendix B ..........................................................................................................117 References ............................................................................................................119 viii List of Tables Table 1: Changes in the Domestic Program Quota .........................................38 Table 2: Total Number of Imported Formats by Genre 1999-2011 ................62 Table 3: Total Number of Imported Formats by Origin 1999-2011 ...............65 Table 4: Deregulation Phases of the Japanese Cultural Ban on Film and Television ..........................................................................................69 Table 5: Total Amount Made on Exported Programs of Broadcast/Cable ...115 Table 6: Total Amount Spent on Imported Programs of Broadcast/Cable ...115 Table 7: Total Advertising Market Revenues by Broadcast/Cable ...............116 Table 8: Total Production Costs of Broadcast/Cable ....................................116 Table 9: List of Imported Format Program Titles 1999-2011 .......................118 ix List of Figures Figure 1: Amounts of Imported/Exported Programs in Broadcast 1999-2010 40 Figure 2: Amounts of Imported/Exported Programs in Cable 1999-2010 .......42 Figure 3: Total of Korean Advertising Market Revenues 1999-2010 ..............44 Figure 4: Total Production Costs for Broadcast and Cable 1999-2010............48 Figure 5: Total Number of Imported Formats 1999-2011................................51 Figure 6: Total Number of Imported Formats by Channel Type 1999-2011 ...53 Figure 7: Total Number of Imported Formats by Channel Name 1999-2011 ..56 Figure 8: The Changes in Format Program Uses .............................................73 x Chapter 1: Introduction Over the past few years, format programs have become an important part of the international television market (Enli & Ihlebæk, 2011; Jensen, 2007). Although there is no concrete definition yet, the term format program usually refers to the copyrighted forms of television programs and the programs made from obtaining these forms by buying it from the format-holders. The idea of formats is not new; the practice of borrowing and adapting program ideas has been around for a long time. But it is only recently that the production knowledge that makes up a format program has been documented and recognized as eligible for a copyright (Moran, 2009). Regardless of the short history of formats, the trade volume of these programs has been increasing steadily. The number of imported formats being adapted to local versions has nearly doubled in the 2002 and 2009 period (Format Recognition and Protection Association, 2009), and more countries are starting to participate in the market as format exporters. Internationally popular programs such as Big Brother, American Idol or Who Wants to be a Millionaire, are all format programs that have been adapted for various countries around the world. As noted above, formats are becoming more noticeable globally and thus this study will focus on these international flows of format programs as a topic because of the timeliness. Another reason that this study was initiated is because there is not much academic research done on formats, apart from a few statistical reports done by the industry. In particular, it will concentrate on the inflow of international formats in the Korean media market. Korea, which has seen an inflow of format programs into its television market recently, is also following this global trend of format popularity. To name a few, Top 1 Gear Korea, Dancing With the Stars and Korea’s Got Talent are all Korean versions of international formats that have gained high audience ratings. In the case of Korea’s Next Top Model, it was so popular that it became the first country to produce a fourth cycle of the Top Model format (Baek, 2011). As such format programs proved to be successful, more Korean broadcast stations have been importing formats and producing local versions. Despite this growing popularity, the research on the Korean format market is sparse; there are not many studies conducted on this subject, so this study will be concentrating on the Korean format market in particular. When looking at the few previous studies that actually are about the Korean formats, they are mostly centered
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