LEADER 04286nam 22007695 450 001 9910811861403321 005 20240516124156.0 010 $a0-8147-9942-6 010 $a0-8147-3916-4 024 7 $a10.18574/9780814739167 035 $a(CKB)2670000000155481 035 $a(EBL)865534 035 $a(OCoLC)779828117 035 $a(SSID)ssj0000607215 035 $a(PQKBManifestationID)11370932 035 $a(PQKBTitleCode)TC0000607215 035 $a(PQKBWorkID)10582683 035 $a(PQKB)11720866 035 $a(MiAaPQ)EBC865534 035 $a(OCoLC)794701080 035 $a(MdBmJHUP)muse10759 035 $a(DE-B1597)547270 035 $a(DE-B1597)9780814739167 035 $a(PPN)269063870 035 $a(EXLCZ)992670000000155481 100 $a20200723h20082008 fg 0 101 0 $aeng 135 $aurnn#---|un|u 181 $ctxt 182 $cc 183 $acr 200 10$aGlobal TV $eExporting Television and Culture in the World Market /$fDenise D. Bielby, C. Lee Harrington 205 $a1st ed. 210 1$aNew York, NY :$cNew York University Press,$d[2008] 210 4$dİ2008 215 $a1 online resource (276 p.) 300 $aDescription based upon print version of record. 311 0 $a0-8147-8634-0 311 0 $a0-8147-9941-8 320 $aIncludes bibliographical references (p. 227-251) and index. 327 $tFront matter --$tContents --$tList of Figures and Tables --$tAcknowledgments --$tPreface --$tIntroduction --$t1 The Syndication Market in U.S. Television --$t2 Television in the Global Market --$t3 The (Continued) Relevance of Genre --$t4 Managing Television?s Cultural Properties --$t5 Discourses of Distribution --$tConclusion --$tMethodological Appendix --$tNotes --$tReferences --$tIndex --$tAbout the Authors 330 $aA reporter for the Los Angeles Times once noted that ?I Love Lucy is said to be on the air somewhere in the world 24 hours a day.? That Lucy?s madcap antics can be watched anywhere at any time is thanks to television syndication, a booming global marketplace that imports and exports TV shows. Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies. In Global TV, Denise D. Bielb and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led to explore the cultural significance of this global trade, and to ask how it is so remarkably successful despite the inherent cultural differences between shows and local audiences. How do culture-specific genres like American soap operas and Latin telenovelas so easily cross borders and adapt to new cultural surroundings? Why is The Nanny, whose gum-chewing star is from Queens, New York, a smash in Italy? Importantly, Bielby and Harrington also ask which kinds of shows fail. What is lost in translation? Considering such factors as censorship and other such state-specific policies, what are the inevitable constraints of crossing over? Highly experienced in the field, Bielby and Harrington provide a unique and richly textured look at global television through a cultural lens, one that has an undeniable and complex effect on what shows succeed and which do not on an international scale. 606 $aTelevision programs$xMarketing 606 $aTelevision broadcasting$xSocial aspects 610 $aSeeks. 610 $aglobal. 610 $ahistory. 610 $ainner. 610 $amachinery. 610 $amanagement. 610 $amarketplace. 610 $aorigins. 610 $aproduct. 610 $atelevision. 610 $aunderstand. 610 $aworkings. 615 0$aTelevision programs$xMarketing. 615 0$aTelevision broadcasting$xSocial aspects. 676 $a302.23/45 700 $aBielby$b Denise D.$4aut$4http://id.loc.gov/vocabulary/relators/aut$01698799 702 $aHarrington$b C. Lee$4aut$4http://id.loc.gov/vocabulary/relators/aut 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910811861403321 996 $aGlobal TV$94080541 997 $aUNINA