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Formatierte Weltkultur? Zur Theorie Und Praxis Globalen Unterhaltungsfernsehens

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Formatierte Weltkultur? Zur Theorie Und Praxis Globalen Unterhaltungsfernsehens 2016-06-21 13-37-59 --- Projekt: transcript.anzeigen / Dokument: FAX ID 0365432901726620|(S. 1- 2) VOR3301.p 432901726628 Aus: Anne Grüne Formatierte Weltkultur? Zur Theorie und Praxis globalen Unterhaltungsfernsehens Juli 2016, 480 Seiten, kart., zahlr. Abb., 49,99 €, ISBN 978-3-8376-3301-6 Welche kulturelle Prägekraft hat der weltweite Transfer von Fernsehshows? Anne Grüne bietet einen umfangreichen Vergleich deutscher und arabischer Varianten glo- baler Unterhaltungsshows, einschließlich ihrer Produktion und Rezeption. Die syste- matische Analyse bietet neue Perspektiven auf das Theorem der »Glokalisierung«, indem gezeigt werden kann, dass zwar die globale Beachtung gleicher medialer Kon- zepte zur synchronen Modernisierung von Sehgewohnheiten führt, dabei jedoch die lokalen Diskursmuster erhalten bleiben. Unterhaltung ist also nur auf den ersten Blick global. Obwohl die »formatierte Weltkultur« kulturelle Anschlussfähigkeit erzeugt, verharrt die Weltgesellschaft in lokalen Selbstgesprächen. Der globale Dialog bleibt Utopie! Anne Grüne (Dr. phil.), geb. 1983, ist wissenschaftliche Mitarbeiterin und Habilitan- din am Seminar für Medien- und Kommunikationswissenschaft der Universität Er- furt. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-3301-6 © 2016 transcript Verlag, Bielefeld 2016-06-21 13-37-59 --- Projekt: transcript.anzeigen / Dokument: FAX ID 0365432901726620|(S. 1- 2) VOR3301.p 432901726628 Inhalt Danksagung | 9 1. Einleitung: Unterhaltungskommunikation und Fernsehen in globaler Perspektive | 11 1.1 Formatiertes Fernsehen im 21. Jahrhundert | 21 1.2 Unterhaltungskommunikation und Fernsehformate in der Kultur- und Kommunikationswissenschaft | 37 1.3 Forschungsleitende Fragen | 48 1.4 Aufbau der Arbeit | 52 2. Theoretische Rahmung | 55 2.1 Medien- und kommunikationswissenschaftliche Theorieangebote | 56 2.1.1 »Re-Kodierung« und Bedeutungstransfer: Theoretische Reflexionen zum Kommunikationsmodell von Stuart Hall | 57 2.1.2 Produzenten als »kulturelle Gatekeeper« grenzüberschreitender Medienkommunikation | 77 2.1.3 Rezipienten als »kulturelle Agenten« grenzüberschreitender Medienkommunikation | 85 2.2 Kulturwissenschaftliche Theorieangebote | 102 2.2.1 Die zentrale Bedeutung von »Kultur« | 103 2.2.2 Populäre Kultur, Unterhaltungskommunikation und »kulturelle Öffentlichkeit«: Die gesellschaftliche Relevanz von Unterhaltung | 113 2.2.3 Transkulturalität als Kennzeichen heutiger Gesellschaften | 120 2.2.4 Hybridisierungstheorien kultureller und medialer Globalisierung | 129 2.2.5 »Kulturelle Nähe« im Text-Rezipienten-Verhältnis | 137 2.3 Globalisierungstheoretische Grundlagen | 147 2.3.1 Theorieansätze globaler Medienkommunikation | 151 2.3.2 Revisionistische Debatten globaler Medienkommunikation | 154 2.3.3 Alternative Theorieangebote kultureller Globalisierung: »Glokalisierung«, kulturanthropologische Ansätze und Perspektiven der transkulturellen Medienkulturanalyse | 159 2.4 Theoriematrix: Grenzüberschreitende Unterhaltungs- kommunikation am Beispiel von Fernsehformaten | 168 3. Analysedesign | 175 3.1 Methodische Grundlagen, Vorgehen und Feldzugang | 178 3.1.1 Inhaltsanalyse | 180 3.1.2 Gruppendiskussionsverfahren | 187 3.1.3 Experteninterviews | 199 3.2 Auswahl der Fallbeispiele | 203 3.2.1 Formate: WHO WANTS TO BE A MILLIONAIRE und GOT TALENT | 203 3.2.2 Regionen: Deutschland und Ägypten | 209 4. Kreislauf der Unterhaltungskommunikation: Fernsehformate in Deutschland und Ägypten | 213 4.1 »Glokale Texte«: Die Formatversionen im Vergleich | 214 4.1.1 Die Quizshows WER WIRD MILLIONÄR und MAN SAYARBAH AL-MALYOON im Vergleich | 214 4.1.1.1 (Trans-)Kulturelles (Un-)Wissen?: Analyse der Inhaltsdimension | 217 4.1.1.2 Lehrer, Schüler und Statisten: Analyse der Figuren | 232 4.1.1.3 Hollywood im Spielformat: Analyse der televisuellen Gestaltung | 247 4.1.1.4 »Quizshow« oder »Bildungsquiz«? Der feine Unterschied in Narrations- und Deutungsangeboten | 251 4.1.1.5 Gesellschaftliche Nachwirkungen zwischen Bildungsauftrag und Identitätsbildung: Kontextanalyse der MILLIONÄR-Versionen | 258 4.1.2 Die Castingshows DAS SUPERTALENT und ARABS GOT TALENT im Vergleich | 264 4.1.2.1 (Trans-)Kulturelles (Anti-)Talent? Analyse der Inhaltsdimension | 266 4.1.2.2 »Der Superstar im Zeitalter seiner medialen Reproduzierbarkeit«: Analyse der Figuren | 276 4.1.2.3 Inszenierung der Superlative: Analyse der televisuellen Gestaltung | 293 4.1.2.4 Zwischen »Können« und »Sein«: Narrations- und Deutungsangebote | 296 4.1.2.5 Fernsehen zwischen »Qualität« und »Trash«: Kontextanalyse der GOT TALENT-Versionen | 300 4.1.3 Zwischenfazit: »Globale Spiele, lokale Siege«? Multidimensionale Glokalisierung in Fernsehformaten | 302 4.2 »Lokale Interpreten«: Die Rezeption von Unterhaltungsformaten im Vergleich | 310 4.2.1 (Trans-)Kulturelle Anschlussdiskurse | 312 4.2.1.1 Authentizitätsdiskurs | 324 4.2.1.2 Normativer Diskurs | 334 4.2.1.3 Identitätsdiskurs | 341 4.2.1.4 Wissensdiskurs | 352 4.2.2 (Trans-)Kulturelle Rezeptionshaltungen: »Skeptische« Rezipienten glokaler Fernsehunterhaltung | 353 4.2.3 (Trans-)Kulturelle Referenzen: Wissensrahmen der Rezipienten | 360 4.2.3.1 Intertextuelle Referenzen | 360 4.2.3.2 Intermediale Referenzen | 363 4.2.3.3 Alltagsweltliche Referenzen | 364 4.2.4 Exkurs: Fernsehgespräche und Anschlussdiskurse im Vergleich | 367 4.2.5 Exkurs: Zur Konstruktion der »Authentizität des Fremden« | 371 4.2.6 Zwischenfazit: (Trans-)Kulturelle Interpretationssynchronisation? | 375 4.3 »Globale Gatekeeper«: Innenperspektiven der Produktion im Vergleich | 381 4.3.1 Strukturelle und institutionelle Rahmenbedingungen des Formattransfers in Deutschland und der arabischen Welt | 383 4.3.2 Individuelle Lesarten der Unterhaltungsproduzenten | 402 4.3.2.1 Produzenten-Lesarten von MILLIONÄR: Unterhaltung versus Bildung im Quizformat | 407 4.3.2.2 Produzenten-Lesarten von GOT TALENT: Emotionalisierung versus Emanzipation im Castingformat | 413 4.3.3 Zwischenfazit: (Trans-)Kulturelle Produktionsgemeinschaften | 418 5. Zusammenführung und Fazit | 421 5.1 Muster grenzüberschreitender Unterhaltungskommunikation am Beispiel des Formattransfers in Deutschland und Ägypten | 421 5.2 Die Antinomie von Glokalisierung und Globalisierung: Ein theoretischer Ausblick zum Verhältnis von Globalisierung und transkultureller Unterhaltungskommunikation | 429 5.2.1 Unterhaltungskommunikation als Wegbereiter einer diskursiven Weltkultur? | 433 5.2.2 Unterhaltungskommunikation als Wegbereiter eines »kulturellen Kosmopolitismus«? | 442 Literaturverzeichnis | 445 Anhang | 471 Abkürzungsverzeichnis | 471 Abbildungsverzeichnis | 472 Tabellenverzeichnis | 473 Hinweise zur Transkription und Schreibweise des Datenmaterials | 474 Leitfaden der Gruppendiskussionen | 475 Leitfragen der Experteninterviews | 477 1. Einleitung: Unterhaltungskommunikation und Fernsehen in globaler Perspektive Unterhaltungsangebote definieren die Grenzen unserer Kommunikationsräume neu, da sie nationale und kulturelle Demarkationen durch ihren weltweiten Erfolg scheinbar auflösen. Diese Feststellung ist unentbehrlich, um eine Arbeit über Glo- balisierung, Kultur und Fernsehen zu beginnen. Die Produkte der Unterhaltungs- und Kulturindustrie, die heute weltweit zirkulieren, sind zu einem beliebten Be- zugspunkt in den internationalen Debatten um die kulturelle Dimension der Globa- lisierung geworden. In diesem Zusammenhang spricht Stuart Hall sogar von einer neuen Medien- und Informationsrevolution, durch die »Kultur zunehmend produ- ziert, verbreitet und ausgetauscht werden« könne, was wiederum die »Struktur spät- moderner Gesellschaften«, die Verteilung materieller und menschlicher Ressour- cen, die Konstruktion kultureller Identitäten und die Entwicklung der globalen Ord- nung stärker denn je beeinflusse.1 Ähnlich sehen Andreas Hepp oder Friedrich Krotz heutige Kulturen bereits soweit transformiert, dass sie ohne die Bedeutungs- ressourcen der Medien kaum mehr vorstellbar seien.2 Ob Annahmen einer engen Verzahnung oder gar Konvergenz von Medien- und Kulturentwicklung allerdings am Beispiel vielschichtiger gemeinschaftlicher und gesellschaftlicher Entwicklun- gen bestätigt werden können, bleibt zu untersuchen. 1 Hall, Stuart (2002): Die Zentralität von Kultur. Anmerkungen über die kulturelle Revo- lution unserer Zeit. In: Hepp, Andreas; Löffelholz, Martin (Hg.): Grundlagentexte zur transkulturellen Kommunikation. Konstanz: UVK, S. 95ff. 2 Hepp, Andreas (2013): Medienkultur. Die Kultur mediatisierter Welten. 2. Aufl. Wies- baden: VS Verlag für Sozialwissenschaften; Krotz, Friedrich (2011): Die Mediatisie- rung kommunikativen Handelns. Der Wandel von Alltag und sozialen Beziehungen, Kultur und Gesellschaft durch Medien. Wiesbaden: VS Verlag für Sozialwissenschaf- ten, S. 33ff.; Ders. (2007): Mediatisierung. Fallstudien zum Wandel von Kommunika- tion. Wiesbaden: VS Verlag für Sozialwissenschaften, S. 30ff. 12 | FORMATIERTE WELTKULTUR? Zweifel sind vor allem angebracht, wenn es um die Konstitution eines globalen kulturellen Gleichklangs geht, der durch die weltweite Verbreitung von Unterhal- tung entstehen könnte. Denn die Frage, in welchem Ausmaß globale Unterhaltung tatsächlich alltägliche lokale Lebenswelten prägt, welche konkreten gesellschaftli- chen Implikationen den zirkulierenden alltagskulturellen Ressourcen innewohnen, blieb von denen, die durch westliche Medien geprägte Homogenisierungstendenzen befürchteten, in den meisten Fällen unbeantwortet. Stattdessen haben inzwischen revisionistische Arbeiten auf die Grenzen und Schwächen der kulturellen und medi- alen
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