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Copyright of Cuadernos.info is the property of Pontificia Universidad Catolica de Chile, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article offers a historical perspective on co-productions of high-end television drama in Germany. It argues that such co-productions have seen three distinct phases that although overlapping, are described by industry insiders and critics as distinct periods where one form of co-production is dominant at a particular time but then becomes residual as other forms take over. These three forms are, first, public broadcaster-led co-productions, second, 'Europudding' co-productions, and finally, distinctive co-productions in TVIV. This article shows that these phases are connected to stylistic as well as industrial changes, which do not always overlap with the description of industry insiders. [ABSTRACT FROM AUTHOR]

This article explores the dynamics of transnational media formation by comparing the reception of Turkish television serials (dizis) in Pakistan with how Turkey is signified in dramas produced in Pakistan and set in Turkey/Pakistan. It identifies two phases to suggest that when the dizi first arrives in Pakistan, the values and visibilities projected on Turkish serials remain 'foreign' and 'other' to many audiences, even if their flawless presentation of 'modernity' is alluring. Even as Turkish content was flooding Pakistan, the Turkish government offered incentives to Pakistani media companies to shoot on location in Turkey. I focus on two Pakistani dramas set in Turkey to discern how the encounter with Turkey was thematised as both lure and threat to Pakistani social norms and the formal conventions of the national genre of Urdu TV drama. I then move to the second and current phase and examine the statist reconfiguration of Turkish television in Pakistan. Historical dizi s, such as Dirilis Ertuğrul and Kuruluş Osman, reframe the confrontation between foreign and domestic forms through a trans-territorial Islamic world-making that enables Turkish and Pakistani states to direct their televisual publics via a shared past to possible futures. [ABSTRACT FROM AUTHOR]

In the complex sphere of global television dramas, South Korea has emerged as a regional force in the last few decades, followed by Turkey in the 2000s. Turkish TV dramas are sold to over 140 countries throughout the world, demanding a constant supply of new content, met in part by remakes. While Korean productions receive limited distribution in Turkey, a significant number of these have been remade by Turkish companies. Since 2013, Korean dramas have replaced Hollywood series as the primary source of adaptations for Turkish dramas. There appear to be shared sensibilities that make the Korean stories palatable to Turkish audiences, but more significantly, certain production practices make Korean sources a more viable choice than Hollywood series for Turkish producers. This article explores these sensibilities from an industrial point of view, employing testimonies from leading industry informants who have been instrumental in introducing Korean source material to Turkish television. [ABSTRACT FROM AUTHOR]

This paper discusses how television professionals in Germany negotiate the transnational potential as well as the regional, national and local particularities of German quality drama. The central hypothesis is that the practitioners’ current industry discourse on quality TV drama bears clear “glocal” traits, as their debates on transnationalisation focus on national or local specificities as well. Drawing on the theoretical concept of glocalisation, the analysis is based on 12 expert interviews with 15 producers, scriptwriters, commissioning editors and directors of recent quality TV drama projects from Germany. First, the article outlines key concepts and methods for the analysis. Subsequently, it describes transnationalism and regionalism in the German-speaking television landscape and among public broadcasters, which are the most important commissioners of German TV fiction. Further, the article deals with industry discourses on foreign sales and transnational distribution. Finally, it discusses the transnationalisation of project networks and individual practitioners on a micro level.

Based on 21 months of ethnographic research in the dizi industry, Turkey's internationally popular serialized TV melodramas, this article explores how dizi makers explain their productions' global popularity and how they imagine, classify, and discuss foreign markets. It describes dizi makers' competing ideas of the "global" and different regimes of value when evaluating the popularity of their products in the world. It illustrates how Turkish dizi creatives, seeking prestige, regard the wide-spread circulation of their productions in Non-Western contexts not as an asset but as an impediment to achieving symbolic capital and recognition. The article also demonstrates that at a time when a significant portion of the dizi industry's profits come from foreign sales in Latin America, the Balkans, and the Middle East, producers and distributors find themselves in a position where a notion of the "global" that is inclusive of non-Western regions is strategically and economically necessary to them. It makes the case that despite these differences in what it means to be global—for dizi creators who seek prestige and for the distributors and producers that focus on profitability—both construct the global using developmentalist logics. [ABSTRACT FROM AUTHOR]

The viewing of Turkish soap operas in Greece is a stigmatized activity not only for reasons intrinsically related to the nature of soap operas per se, but also for reasons related to the historical past and the traditionally troubled diplomatic relationship between the two countries. Based on the data gathered during an audience ethnography, the author analyzes the use of Information and Communication Technologies made by the fans of these transnational soap operas. Online fan communities function as havens for their members as, in these communities, the norms which are dominant within the Greek society are not rigidly adhered to, stigmatized viewing preferences are endorsed by like-minded individuals and prevalent ideologies can be challenged without fear of criticism in a sympathetic, nonprejudiced environment. [ABSTRACT FROM AUTHOR]

This paper discusses how television professionals in Germany negotiate the transnational potential as well as the regional, national and local particularities of German quality drama. The central hypothesis is that the practitioners' current industry discourse on quality TV drama bears clear "glocal" traits, as their debates on transnationalisation focus on national or local specificities as well. Drawing on the theoretical concept of glocalisation, the analysis is based on 12 expert interviews with 15 producers, scriptwriters, commissioning editors and directors of recent quality TV drama projects from Germany. First, the article outlines key concepts and methods for the analysis. Subsequently, it describes transnationalism and regionalism in the German-speaking television landscape and among public broadcasters, which are the most important commissioners of German TV fiction. Further, the article deals with industry discourses on foreign sales and transnational distribution. Finally, it discusses the transnationalisation of project networks and individual practitioners on a micro level. [ABSTRACT FROM AUTHOR]

Since 2020, Netflix has emphasised the diversity of representation the platform provides through its content. Following the publication of its diversity report, the streamer positions itself as a driver of inclusion for underrepresented communities in film and television industries. This article examines how Netflix rhetorically frames the emphasis on diversity in its corporate communication. Based on a thematic analysis of Netflix's press releases, it explores how Netflix uses its branding of diversity to generate a transnational appeal. The article outlines four strategies which highlight the cultural and industrial practices deployed by the streamer to gain competitive advantages. [ABSTRACT FROM AUTHOR]

This article examines 2018 South Korean historical drama Mr. Sunshine as an example showcasing the impact of global streaming platforms on local television production. As a locally produced show targeting the international market and later purchased by Netflix, Mr. Sunshine offers an interesting case study of the local industry's response to changes brought about by global streaming services. This article analyzes how the creators' acute awareness of the threats and opportunities posed by the increasingly transnationalizing media industry is reflected in the text of the historical drama set in the time of modernization and the approaching Japanese occupation. It argues that Mr. Sunshine 's visual and narrative construction of early twentieth-century Korea, which emphasizes the unrealized potential of transitional times and Korean people's agency in shaping their own history, indicates a perceived parallel between the setting of the show and the conditions of its creation. [ABSTRACT FROM AUTHOR]

Copyright of Kepes is the property of Universidad de Caldas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Players in the European market have developed a series of transnational collaborations and practices in the cross-border production and distribution of audio-visual content, media ownership, regulation and audience reception. Transnational subscription video-on-demand platforms have also visibly increased their investments in original content, in their attempt to expand and maintain their international subscriber bases. Among them, Netflix has been particularly active in investing in European markets. This article traces the evolution of Netflix investments in European original scripted series produced between 2012 and 2020 and analyses the platform's investment strategies in European markets through the lens of transnational television theory. The findings point to various elements of transnationalisation, placing European originals at the intersection between local and global, through market dynamics, strategic collaborations and content with transnational appeal. The findings also confirm the growing importance of rights retention and premium content offerings through the increase of big-budget commissions, particularly in developed European markets. [ABSTRACT FROM AUTHOR]

Babylon Berlin (ARD/Sky, 2017–) depicts Germany's Weimar Republic by way of complex genericity, drawing especially on the era's internationally recognizable associations with film noir and the musical. While this reflects its position in a transnational "quality" television landscape, its generic frameworks also draw out ambiguous historical tensions difficult to capture in a realist mode and highlight unpredictable ambivalence across Weimar's institutions and culture. This complicates Weimar myths that polarize its supposedly regressive politics and progressive culture and see it as a "doomed republic," the subsequent Nazi period viewed in hindsight as having been inevitable. It also distances it from recorded history, inviting a symbolic reading in the context of contemporary global phenomena. Babylon Berlin thus demonstrates that although citing globally popular genres to depict national histories facilitates transnational television drama's accessibility, it can also aid critical historical reflection. [ABSTRACT FROM AUTHOR]

The transnationalization of television production has been examined by studies on formats and multinational media companies, which have often highlighted the resilience of the local in the global. This article investigates transnationalization on the micro level of television production, drawing on participant observations in a Dutch production company that is partly owned by an American conglomerate. It explores the deep entanglement of the local with the global in different facets of production – including legal, organizational and market aspects – as manifested in daily practices and decision-making in television production. Our analysis reveals an industrial logic of formatting that is not only induced by transnational ownership structures and business models but also deeply ingrained in production routines and programme conventions. Through this logic, transnationalization shapes media professionals' daily work, the selection of programme ideas and the process of content development. [ABSTRACT FROM AUTHOR]

In July 1985, in what was promoted at the time as a rebuke of center–periphery relation patterns, Brazilian television network Globo, owned by Roberto Marinho, bought Telemontecarlo (TMC), a tiny private television station set in Monaco, with the goal of transforming it into an Italian national television network capable of competing with Fininvest, the leading commercial television group of the time. Encouraged by Italian Christian Democracy leaders, the Brazilian group's presence in Italy provoked legal, political and economic warfare between Globo's owners and the local dominant communications mogul and future Italian prime minister, Silvio Berlusconi. Throughout this paper, I analyze the various transnational political, economic and cultural links between Brazil and Italy that both encouraged this unorthodox move and also led to its almost inevitable failure. [ABSTRACT FROM AUTHOR]

This article discusses transnational television and what strategies public service broadcaster NRK Drama has pursued to make the Norwegian crime series Monster: Brutally Far North travel. Monster was the first Norwegian-language television series bought by a major American cable network, Starz. Using the concept of production values, we argue that NRK has made a series that is able to ride the Nordic noir wave of success while also offering a new northern Norwegian version of the western. These two factors made Monster a good fit for the American market. The series is a result of strategic changes within NRK Drama and a commitment to the private and regional film business. Furthermore, NRK views drama productions as key for reaching audiences and has increased their budgets significantly. The analysis encompasses the industry context, media articles, the 'North' as location, the series itself and interviews with important stakeholders. [ABSTRACT FROM AUTHOR]

Copyright of MATRIZes is the property of Universidade de Sao Paulo, Programa de Pos Graduacao em Ciencias da Comunicacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This special issue examines aspects of Irish television at the current political, economic and cultural conjuncture in Ireland, and against the backdrop of two major crises since the 1990s: the first deriving from the Catholic Church's institutional abuse scandals, which progressively weakened its power and influence; the second from the 2008 collapse of the Celtic Tiger economic boom, following which years of austerity have deepened social inequality. Focusing primarily on Ireland's public service broadcaster RTÉ, the articles consider how national television in Ireland has represented and negotiated the resultant tensions and divides within Irish society. They examine the endurance and evolution of a daily Catholic ritual on national television; the weaknesses of a transnational drama in addressing the legacy of institutional abuse; varieties of progressive post-2015 Marriage Equality referendum "queer" television; "property television" and the current housing crisis; and intergenerationally themed reality television in the context of growing generational inequality. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses various reports within the issue on topics including transnational dramas, Turkish television drama, and Berlin, Germany as a television program location.

Rai/HBO co-production L'Amica Geniale / My Brilliant Friend (2018–) provides an illuminating example of changing strategies for transnational drama co-production in television's burgeoning 'multiplatform' era. Foregrounding institutional over textual analysis, the article places My Brilliant Friend (MBF) within the industrial, creative and cultural contexts that have facilitated it. Important to these contexts is that transnational co-productions between non-US broadcasters and US-based premium networks are not only increasing but also exhibiting a new degree of cultural diversity. The article examines MBF's origination as a literary adaptation, its genesis as a 'cross-platform' co-production, and its exemplification of changing drama commissioning strategies for Rai and HBO. [ABSTRACT FROM AUTHOR]

This article analyses the role of foreign content in the public broadcasting corporations from two major European markets, Spain and the United Kingdom. Through a quantitative approach to schedules and in-depth interviews with the heads of the acquisitions departments, it is demonstrated that RTVE and BBC, both public media corporations, have a very different approach to the scheduling of acquisitions due to their distinct concept of public service remit. While in Spain this is focused on the cultural diversity of programmes, the approach in the United Kingdom is to only promote British productions. [ABSTRACT FROM AUTHOR]

Shifts in audio-visual production, distribution, and consumption have increased pressure on broadcasters as main financiers of domestic content in Europe. However, within the context of internationalisation and digitalisation, there are also new opportunities for the export of European content. By taking a close look at the evolution and increasing popularity of Flemish TV drama, this article identifies key explanatory factors for the export of content produced in a small media market. The analysis also discusses the extent to which the rise in exports may contribute to the increased sustainability of a small and fragile, yet vibrant audio-visual industry. [ABSTRACT FROM AUTHOR]

Television was heralded as a catalyst of European solidarity when satellite technology arrived, but financial failure, regulatory barriers and contrived cross-border stories – defamed as 'Europuddings' – quickly stifled this enthusiasm. This article reconsiders television as a medium for narratives of European solidarity within today's TV industry, policy and culture. The crime drama The Last Panthers (2015), co-produced by Sky and Canal+, serves as a case study of the interplay between economic, political and cultural Europeanization in contemporary TV production. The analysis builds on Jürgen Habermas's reflections on crisis dynamics in late capitalist societies (1980, 2005), which informs his response to the crisis of the European Union (2012). The case study shows how the pressure of global competition on European broadcasters, the European Commission's support for distribution of audio-visual media, and the lessons learnt from the Europudding years have created a fragile window of opportunity for narratives of transnational solidarity. [ABSTRACT FROM AUTHOR]

European television channels harbour a significant amount of imported programmes within their schedules. This presence, with its social and cultural impact, is directly affected by the established practices of the television industry which conditions the type and origin of the foreign programmes that are being acquired by linear broadcasters. This research article aims to analyse the criteria used by local television buyers when acquiring international programmes and understand the reasons behind transnational television flows. The findings of the interviews with the television buyers of the main free-to-air television corporations of the United Kingdom and Spain reveal that there is a high level of standardization across the two countries in the decision making process and this homogenizes the range of programme viewers are exposed to. However, a differentiation between public and commercial channels has to be made since public broadcasters consider social and cultural aspects to a higher degree. [ABSTRACT FROM AUTHOR]

The article explores the relation between identity definition and trust in different information sources in Morocco, Jordan and Tunisia following the 2011 Uprisings. While prior to 2011 literature mostly highlighted the role of pan-Arab news channels in consolidating a transnational Arab public sphere, recent studies argued that there has been a reinforcement of national media and identities in the Middle East and North Africa, as a consequence of a partial liberalisation of national broadcasting. Our study is based on the Arab Transformations survey (2014), which unlike previous surveys included questions covering both media consumption and identity definition. We looked at how in the three countries the choice of Muslim, Arab or national identity definition was associated with the preference for distinct sources of political news. The results only partially confirmed the hypothesis of a renewed importance of national media and showed that in the three countries people tended to attribute very different values to the same news sources. [ABSTRACT FROM AUTHOR]

In their book Reading Television (1978: 64-5), John Fiske and John Hartley define television as a medium that provides the members of a particular community with a “confirming, reinforcing version of themselves.” Although the introduction of the unfamiliar and innovative via televisual productions is a business imperative as well as a cultural necessity today, television continues to function as a mirror of its receiving society, and provide its viewers with culturally appropriate content through its various semiotic modes of communication situated within the visual, verbal, and sound tracks. Televisual productions, in this sense, can be viewed as one of the most salient multimodal texts through which our everyday politics are continuously materialized, fictionalized, and rendered into an entertaining popular language that shapes our everyday perceptions and expectations. Transnational format adaptations, in particular, stand out as ample content-rich texts in which the processes of localization and appropriation, realized through individual semiotic choices made by producers, manifest themselves. It is the goal of this paper to trace back such semiotic choices made during the re-production phase of transnational format adaptations, and reveal sociocultural and political interventions in meaning making at the time, through a multimodal analysis of an American comedy crime series, Monk, and its Turkish adaptation, Galip Derviş.

The article discusses various reports within the issue on topics, including transnational television (TV), the significance of apps in transforming the TV landscape, and audience reception of shifts in representation of LGBT+ characters using the programs "Sense8" and "Billions" as case studies.

The attempted coup in Turkey in July 2016 provided a justification for the Turkish government to silence oppositional voices in the media and close down many television stations. Though the stated aim was to clamp down on the pro-coup Gulenist movement, the closure of TV channels has resulted in what I call a ‘communicative ethnocide’ silencing Alevi television in particular. Following Yalcinkaya, who builds on Clastres concept of ethnocide, I define ‘communicative ethnocide’ as the annihilation of the communicative capacity of a particular community by the state with the aim of destroying that community’s cultural identity. Although the closure of TV stations was not confined to Alevi channels, it has particular implications for the Alevi community by destroying its communicative capacity, infrastructure, relations with the viewers, and representation regime which are driven by the community’s political ambitions and attempts to sustain transnational connections. Parallels are drawn between Alevi and Kurdish TV to illustrate the Turkish context. [ABSTRACT FROM AUTHOR]

Satellite broadcasting technologies contribute a great deal to interaction across national boundaries, and in this regard satellite television is significant in the construction of a transnational public sphere for the Alevi community in Turkey and abroad. This paper addresses the role of television in the making of that transnational Alevi identity. In particular, it focuses on the flow and the programme contents of Cem TV and Yol TV, two leading Alevi channels, to demonstrate how the transnational imagination of Alevi identity corresponds to different political understandings of Aleviness. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusess topics within the issue including cultural history of Melbourne's Australian Centre for the Moving Image; role cultural specificity and the authentic voice play in transnational television; and documentary films.

Telefantasy series Torchwood (2006–2011, multiple production partners) was industrially and paratextually positioned as being Welsh, despite its frequent status as an international co-production. When, for series 4 (subtitled Miracle Day, much as the miniseries produced as series 3 was subtitled Children of Earth), the production (and diegesis) moved primarily to the United States as a co-production between BBC Worldwide and American premium cable broadcaster Starz, fan response was negative from the announcement, with the series being termed Americanised in popular and academic discourse. This study, drawn from my doctoral research, which interrogates all of these assumptions via textual, industrial/contextual and audience analysis focusing upon ideological, aesthetic and interpretations of national identity representation, focuses upon the interactions between fan cultural capital and national cultural capital and how those interactions impact others of the myriad of reasons why the (re)glocalisation failed. It finds that, in part due to the competing public service and commercial ideologies of the BBC, Torchwood was a glocalised text from the beginning, despite its positioning as Welsh, which then became glocalised again in series 4. Audience response often expressed the contradictory historical and contemporary discourses associated with British and American “quality TV.” Therefore, this study qualitatively investigates the various readings produced by audience members in the US, UK and Canada, as well as transnational fans who are long-term residents of one of those nations with a focus upon the interactions between fan and national cultural capital. The study finds that the audience is pseudo-reflexive when it comes to interpretation; though all express an awareness and acceptance that national identity is constructed and fluid, they still express an underlying essentialism when discussing national identity in the context of the series. doi: 10.5294/pacla.2017.20.3.7

This video documents the authors' journey back to the origins of transnational television in Europe. Inspired by the idea of experimental media archaeology (EMA), the trip to original locations of the transnational media event known as 'Paris-week' in 1952 illustrates a new approach to media historiography, which aims to sensitize television historians for the material remains, topography and physical spaces of early television transmissions. Readers /viewers are invited to watch the different episodes of the authors' journey by clicking on the figures. [ABSTRACT FROM AUTHOR]

Telefantasy series Torchwood (2006-2011, multiple production partners) was industrially and paratextually positioned as being Welsh, despite its frequent status as an international co-production. When, for series 4 (subtitled Miracle Day, much as the miniseries produced as series 3 was subtitled Children of Earth), the production (and diegesis) moved primarily to the United States as a co-production between BBC Worldwide and American premium cable broadcaster Starz, fan response was negative from the announcement, with the series being termed Americanised in popular and academic discourse. This study, drawn from my doctoral research, which interrogates all of these assumptions via textual, industrial/contextual and audience analysis focusing upon ideological, aesthetic and interpretations of national identity representation, focuses upon the interactions between fan cultural capital and national cultural capital and how those interactions impact others of the myriad of reasons why the (re)glocalisation failed. It finds that, in part due to the competing public service and commercial ideologies of the BBC, Torchwood was a glocalised text from the beginning, despite its positioning as Welsh, which then became glocalised again in series 4. Audience response often expressed the contradictory historical and contemporary discourses associated with British and American "quality TV." Therefore, this study qualitatively investigates the various readings produced by audience members in the US, UK and Canada, as well as transnational fans who are long-term residents of one of those nations with a focus upon the interactions between fan and national cultural capital. The study finds that the audience is pseudo-reflexive when it comes to interpretation; though all express an awareness and acceptance that national identity is constructed and fluid, they still express an underlying essentialism when discussing national identity in the context of the series. [ABSTRACT FROM AUTHOR]

While research on the mediation of post-socialist memory has gained momentum in recent years, the field remains fragmented and limited to small-scale case studies, with little attempt to develop a more general reflection on the nature of the processes investigated. Engagement with the wider literature on the mediatisation of memory has been limited as well, with research typically applying established conceptual frameworks rather than using post-socialist materials to generate new theoretical insights. Given the state of the field, this article has a double aim. First, it offers a critical review of the main trends in existing research, focussing on four key issues: the fascination with nostalgic modes of remembering, the dominance of national frames of analysis, the lack of research on the mediation of personal and vernacular remembering, and the privileging of descriptive over explanatory modes of analysis. Second, this article outlines a new agenda for the field and proposes three main research trajectories. The first pays attention to how mediated memories at local and national levels interact with transnational processes of remembering the Cold War, the second focusses on the intersections between personal and public modes of mediated remembering, and the last moves the discussion from description to explanation, using comparative approaches to advance explanations of different modes of mediated post-socialist memories. [ABSTRACT FROM AUTHOR]

The 1960s witnessed the emergence of television as a global medium. One way of demonstrating the powers and possibilities of television was the production and airing of transnational broadcast events. In order to produce these, national broadcast organizations had to engage in joint production of such events. The article examines two such events: Gagarin’s return to Moscow after orbiting the earth in April 1961 and the more well-known ‘Our World’ broadcast 6 years later. At the time of their production, these broadcasts were seen as crucial moments in television history, as prototypes of what could be expected of television in the future. They also relied on extensive cooperation between broadcast organizations in socialist and Western countries, organizations that to a large extent shared the same production values but also had to negotiate competing visions of the geography of modern communications networks. The broadcasts discussed in this article thus provide the opportunity to reflect upon the shaping of television history and global media memories. Based on case studies of the planning and production of the broadcasts, the article argues that global power relations have shaped the remembered history of television and therefore must be part of our understanding of it. [ABSTRACT FROM AUTHOR]

The article analyzes the television series "The Fairy Tale Police Department" (FTPD). Particular focus is given to the role of hybridity and of cultural norms in the series, and mentions the transnational television fairy tale. The authors discuss that the show parodies and hybridizes the fairy-tale and police procedural crime genres.

This article investigates new trends in the consumption of national and transnational television channels in Algeria, following the changes introduced by the 2012 media law. Research on this topic was conducted through a small-scale audience survey among university students in Mostaganem, West Algeria, at the beginning of 2015. As with other neighbouring countries, since the 1980s, Algeria has been exposed to a rising amount of transnational television flows. After an initial French dominance, the last 10 years saw a gradual growth in the Gulf channels' penetration, while national television became increasingly neglected. This partially changed after the 2011 uprisings as many Arab countries accelerated a process of media liberalization. In Algeria, the media law approved in 2012 opened the door to the creation of private television channels. The article explores the choices made by young Algerians in terms of national and transnational television content, both for news and for entertainment. Based on the results of our survey and on other historical and contextual data, we argue that a new national perspective on news and current affairs is emerging in the country, together with the success of non-Western productions for entertainment formats. In both these domains, students from different faculties and backgrounds showed similar preferences, going beyond the linguistic, cultural and social segmentation that has characterized the Algerian audience since the emergence of satellite television. [ABSTRACT FROM AUTHOR]

The cultural proximity thesis states that in a world of transnational media flow, audiences continue to prefer content situated within their local frames of reference. Yet the means through which such content is distributed and accessed can also be sites for cultural proximity. This paper explores how television distribution practices can create transnational meanings through a discussion of the contemporary television seriesOutlander’s controversial distribution in the United Kingdom. Released in the US at the height of the 2014 Scottish independence referendum, the Jacobite sympathies ofOutlander’s narrative were widely believed to have restricted the UK release of the series.Outlanderfailed to secure a distribution deal with a UK broadcaster, and was eventually released in the UK on Amazon Prime six months after its US debut. British audiences struggled to reconcile the programme’s foreign distribution with its local relevance, objecting to having to go beyond the recognized spaces of national broadcasting (for distribution and consumption) to access a culturally proximate programme (in terms of content). WatchingOutlanderin the UK consequently became a transnational experience: one that involved moving beyond the sanctioned boundaries of national broadcasting, and re-contesting the borderlines within the United Kingdom itself. [ABSTRACT FROM PUBLISHER]

While the international interest in subtitled Scandi crime series, or ‘Nordic Noir’, is a phenomenon of the 2010s, UK detective series, such as the ‘comfy crime’ dramaMidsomer Murders, have enjoyed international success for many years. Based on a qualitative case study of the production and reception of episode 100 of the series (‘The Killings of Copenhagen’), this article investigates why and how DCI Barnaby ended up in Denmark for what can be regarded as a ‘production service collaboration’ rather than a traditional co-production and whether we will see more transnational crime stories like these in the near future. [ABSTRACT FROM PUBLISHER]

Advances in modern forensic science have rendered the procedures on police procedurals repetitive across the globe, yet television writers continue to transmit their cultures transnationally via the way these popular television detectives interact with their on screen parents. Case studies will includeInspector Morse(UK, 1987–2000),Il Commissario Montalbano/Inspector Montalbano(Italy, 1999–2015), andMurdoch Mysteries(Canada, 2008–present) with some attention paid to female police officers in US dramasCagney & Lacey(1981–1988) andSouthland(2009–2013). A close reading of the relationship between parents and adult children in these programmes shows parent characters serve many purposes. They expand our knowledge of the main character by helping us understand their moulding, their mentality and their motivations; they provide universal themes; they also offer a chance for stunt casting – a combination that helps transmit the culture of the country of origin to international viewers. [ABSTRACT FROM PUBLISHER]