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Formatierte Weltkultur? Anne Grüne Formatierte Weltkultur? Edition Medienwissenschaft Anne Grüne (Dr. phil.), geb. 1983, ist wissenschaftliche Mitarbeiterin und Habili- tandin am Seminar für Medien- und Kommunikationswissenschaft der Universi- tät Erfurt. Ihre Forschungsschwerpunkte liegen im Bereich Alltagskultur und Lebensweltkommunikation, Wissensgesellschaft, Medien und Globalisierung. Anne Grüne Formatierte Weltkultur? Zur Theorie und Praxis globalen Unterhaltungsfernsehens Bei der vorliegenden Schrift handelt es sich um eine Dissertation an der Philosophischen Fakultät der Universität Erfurt. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deut- schen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © 2016 transcript Verlag, Bielefeld Die Verwertung der Texte und Bilder ist ohne Zustimmung des Verlages ur- heberrechtswidrig und strafbar. Das gilt auch für Vervielfältigungen, Überset- zungen, Mikroverfilmungen und für die Verarbeitung mit elektronischen Sys- temen. Umschlagkonzept: Kordula Röckenhaus, Bielefeld Umschlagabbildung: Lilith2000 / Photocase.de Printed in Germany Print-ISBN 978-3-8376-3301-6 PDF-ISBN 978-3-8394-3301-0 Gedruckt auf alterungsbeständigem Papier mit chlorfrei gebleichtem Zellstoff. Besuchen Sie uns im Internet: http://www.transcript-verlag.de Bitte fordern Sie unser Gesamtverzeichnis und andere Broschüren an unter: [email protected] 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 Danksagung Bei der vorliegenden Arbeit handelt es sich um meine Dissertation über die Globa- lisierung von Unterhaltungskommunikation, die ich an der Universität Erfurt einge- reicht und auf der Grundlage der beiden ausführlichen Gutachten von Prof. Dr. Kai Hafez und Prof. Dr. Joachim R. Höflich leicht bearbeitet habe. Dass ich die Herausforderung eines deutsch-ägyptischen Vergleichs von Unter- haltungskultur angenommen habe, geht auch auf wichtige Impulse meiner früheren Dozenten am Institut für Kulturwissenschaften der Universität Leipzig, insbesonde- re von Prof. Dr. Gunnar Otte, zurück. Mein außerordentlicher Dank geht aber an Prof. Dr. Kai Hafez, der das Projekt von Anfang an unterstützt und mich immer for- dernd, kritisch und zugleich mit großer akademischer Anerkennung beraten hat. Seine fachliche, strukturelle wie kollegiale Unterstützung im akademischen Alltag gab mir die nötige Bestärkung, die es in der Evolution aufwendiger Forschungspro- jekte neben der universitären Lehre und Administration von Zeit zu Zeit braucht. Ich danke ihm für den wertvollen intellektuellen Austausch und die wissenschaftli- che wie persönliche Sensibilisierung für Fragen nach einem verantwortungsvollen und anerkennenden grenzüberschreitenden Dialog sowie einem kosmopolitischen Bewusstsein in einer Zeit, in der die öffentliche Wahrnehmung der arabischen be- ziehungsweise islamisch geprägten Welt nach wie vor von negativen Stereotypen und Ressentiments geprägt ist. Dass diese arabische Welt natürlich komplexer, lebendiger und mitunter der ei- genen Lebenswelt viel ähnlicher ist, als es die politische Auslandsberichterstattung oft glauben macht, konnte ich selbst während meines Forschungsaufenthalts in Kai- ro erleben. Dank der finanziellen Unterstützung der Universität Erfurt und der ide- ellen Bereitschaft vieler Ägypterinnen und Ägypter, mir zu helfen, konnte ich wich- tige Untersuchungen für meine Rezeptionsstudie durchführen und meinen eigenen Wissenshorizont in interessanten Gesprächen und Beobachtungen erweitern. Ganz besonders danke ich in diesem Zusammenhang Dr. Hanan Badr und ihrer Familie, die mich vor und während meines Forschungsaufenthalts in Ägypten mit zahlrei- chen Ratschlägen versorgt hat. Dem English Department der Cairo University, vor 10 | FORMATIERTE WELTKULTUR? allem Prof. Randa Aboubakr, Walid El-Hamamsy und Prof. Loubna Youssef, ge- bührt mein Dank für eine herzliche und unbürokratische Unterstützung meiner For- schung ebenso wie Tarik Bary und Omar, die mich mit ägyptischen Schülerinnen und Schülern in Kontakt bringen konnten. Auch in Deutschland war der Feldzugang eine Herausforderung und ich danke den Schülerinnen und Schülern, Studentinnen und Studenten, die sich bereit erklärt
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