Idols in Estonia

BALTIC SCREEN MEDIA REVIEW 2014 / VOLUME 2 / COMMENTARY Commentary Small Market, Big Format: Idols in Estonia ULRIKE ROHN, University of Tartu; email: [email protected] 122 DOI: 10.1515/bsmr-2015-0018 BALTIC SCREEN MEDIA REVIEW 2014 / VOLUME 2 / COMMENTARY ABSTRACT This article looks at the factors that have infl uenced the Estonian adaptation of the Idols format, Eesti otsib super- staari. Based on existing literature, as well as on interviews with representatives of the local TV industry, this article suggests that the most infl uential factor is the small size of the Estonian TV market. Most changes to the original format have been made for practical reasons and not due to cultural considerations. Hence, this article argues that it is mostly market and industry logistics that infl uence programme imports and local adaptations and not so much the cultural shareability of such programmes. INTRODUCTION local audiences whilst others are not. In this context, the approach of cultural transla- Shows usually don’t travel. It is tors by Kyle Conway (2011) emphasises the very diffi cult to produce a format in-between position of media producers that travels internationally. And between the origin of the content and the when adapting it to a market a lot target market of the content, and argues of parties and forces are involved. that the forces that affect local network The fi nal product is usually a executives and media producers in their result of something very complex. decision-making processes shape the pro- (Personal interview with an Esto- gramming produced as text. nian TV producer.) Much of the previous writing on the international trade in TV formats looks at TV formats are adapted for local audiences the nature of the content and its cultural around the world, and while we are fasci- shareability (Singhal, Udornpim 1997) with nated with the success of such formats that the local audience and how that may infl u- are internationally successful, we often do ence decision-making regarding the import not understand why a particular format is of foreign content and its adaptation for adapted in a particular way for local audi- local audiences, or at the reasons that lie ences. In this context, this article aims to in the logic of the industry and its markets. understand the translation process of the This article will look at both. music competition format Idols in Estonia. With regard to reasons that lie in the nature of the content, local producers, and THEORETICAL FRAMEWORK network executives who aim at offering pro- A lot of research focuses on the success grammes that are most successful with of the global TV format trade, and there their audiences will aim to offer content are many examples in the literature that that is culturally most proximate to their describe the interplay between global or audience thereby avoiding the offer of a cul- local elements within particular format tural discount (Hoskin, Mirus 1988). Accord- adaptations (Aslama, Pantti 2007; Beeden, ing to the concept of cultural proximity, fi rst de Bruin 2010; Turner 2005). Some research introduced by Joseph Straubhaar in 1991, also aims at understanding why some con- audiences prefer content that appears tent or content elements are adapted for close to their own culture. Elements that 123 BALTIC SCREEN MEDIA REVIEW 2014 / VOLUME 2 / COMMENTARY make media content culturally proximate sonal expressions and affections at its core include native language, or culture spe- might not be successful in countries where cifi c things such as humour, gender images, such things are regarded as private matters dress style, life style, ethnic types, religion, and should not be brought up in public. To and values (Iwabuchi 2002; Straubhaar make a foreign TV format more relevant and 1991). If an international format offers the appropriate to local audiences, a local pro- “crust” of a programme (Moran 2004: 264), duction includes a local cast who behave then the “fi lling” of the format with content in a way that is acceptable in the particular through local production is what may make culture. Local celebrities who act as hosts content more culturally proximate. or jury members will also help to attract I have elsewhere (Rohn 2010a, 2011) local audiences with their existing fame, introduced a so-called Lacuna and Uni- thereby making the programme more rel- versal Model that helps to understand why evant. programmes or programming elements may Capital Lacunae describe the phenom- or may not be successful when introduced enon where local audiences lack the nec- to audiences outside the culture of produc- essary knowledge to understand the for- tion. In this model, the term “Lacuna” stands eign formats and programming elements for the phenomenon when the cultural dif- in order to enjoy them. The most obvious ferences between the culture of the origin Capital Lacunae occur when the content of media content and the culture of the tar- is in a language foreign to the audiences. get audience negatively infl uences the suc- Hence, local productions are in the local cess of the content with the audience. “Uni- language and in most cases the name of the versals”, on the other hand, are attributes TV format is translated. Foreign productions of the media content as well as of the rela- may also make obvious Capital Lacunae tionship between the content and the audi- when audiences are unfamiliar with people, ences that help to overcome cultural dif- places, events, and so forth, to which they ferences between the culture of the origin refer to. In particular, TV formats that are of the content and the culture of the target quiz shows require a lot of culturally spe- audience. Where Universals exist, audi- cifi c knowledge and questions very often ences select and enjoy foreign TV formats need to be developed uniquely for the local and programming elements despite their market and cannot be taken from the origi- origin from a different cultural environment. nal format. Whereas the Lacunae only regard reasons Production Lacunae refer to the phe- for local adaptation that lie in the nature of nomenon when audiences do not enjoy for- the content, Universals also consider rea- eign TV formats or programming elements sons that lie in the logics of the industry or because they do not like the style in which market. they were produced. Some audiences, for In detail, the model distinguishes three instance, may be used to more complex types of Lacunae as cultural barriers to and complicated storylines, and dislike the cross-cultural success of TV formats simple ones. Though licensing agreements and programming elements as infl uenc- between a format holder and the local pro- ing factors for decisions by local producers ducer may include strict rules regarding and network executives to buy foreign pro- some of the aesthetic standards, such as grammes and formats as well as on their the studio design, the source, and use of decisions on if and how to adapt them for lights, the use of colour and music, local local audiences. They are: Content Lacunae, producers may make the style of a singing Capital Lacunae, and Production Lacunae. competition, for instance, more proximate Content Lacunae occur where audi- to the local culture by having the contest- ences fi nd TV programmes that originate ants perform local songs. from outside of their culture inappropri- In contrast to Lacunae, which call for ate or irrelevant. A TV format that has per- local adaptation, Universals make foreign 124 BALTIC SCREEN MEDIA REVIEW 2014 / VOLUME 2 / COMMENTARY TV formats or programming elements cul- the production for the local audiences that turally shareable, a term coined by Arvind have their nature in industry and market Singhal and Kant Udornpim (1997). The logics and not in the nature of the content. Lacuna and Universal Model distinguishes Due to Company-Created Universals a for- three types of Universals, two of which are eign TV format is successful in a market or reasons for cross-cultural success that lie needs little or no adaptation when compa- in the nature of the content: Content Uni- nies have managed to create a competi- versals and Audience-Created Universals. tive advantage for it relative to other media Content Universals are content in the market. Thus, format sellers or local attributes that are enjoyed across differ- network executives may strategically posi- ent cultures. Thus, a theme or topic of a TV tion formats through marketing strategies, format may arouse emotions that appeal which include tools that concern promotion. across cultures. The heart-touching story of The Lacuna and Universal Model that, a person’s dream come true, for instance, or with the exception of Company-Created competition between contestants, stories Universals, focuses on cultural infl uences of love and romance, or programming ele- on the translation process is part of the ments that allow for escapism into a fan- Vertical Barrier Chain that I have introduced tasy world may be enjoyed by audiences elsewhere (Rohn 2010a, 2010b). The Ver- from different cultures. Very often, TV for- tical Barrier Chain serves as an analytical mats are also enjoyed when they represent framework that organises all internal and something new and refreshing compared external forces that may infl uence inter- with the usual media supply in the coun- national media trade decisions in terms of try. Due to the production experience and a standardised approach or an approach know-how that many international format of local adaptation. In the Vertical Bar- holders share with the local producers, rier Chain, forces in the regulatory, politi- local productions of international formats cal, economic, and cultural environment are often of high production quality and are labelled “barriers” to the extent to which stand out from other productions offered in they may represent fi lters to the success- the market.

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