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June 2018, Week 3


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Film and TV Studies Discussion List <[log in to unmask]>
Thu, 14 Jun 2018 13:57:14 +0200
Film and TV Studies Discussion List <[log in to unmask]>
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Charley Smeets <[log in to unmask]>
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Would you please consider our Call for Papers in your next mailing list?
The message can be attached as below.

Much thanks in advance,

Kind Regards,

Charley Smeets
Netherlands Institute for Sound and Vision


VIEW Journal Call for Papers on "Canned Television Going Global?"

The Transnational Circulation of Ready-Made Content in Television

The issue of audio-visual content international distribution and
circulation is one of the most relevant in recent debates in Media and
Television Studies: in the “age of plenty” (Ellis: 2000) distribution
presents innovative features relating to both the introduction of new
digital platforms and the diverse strategies developed by traditional and
innovative players (including public service broadcasters, commercial, pay
broadcasters and OTT services).

This area has been the subject of much previous scholarship, particularly
in terms of the relevance of TV formats, their centrality for the medium
and its economy, and the different practices of adaptation and
“localization” (Moran: 2009; Chalaby: 2016). However, much less attention
has been devoted to ready-made content and its circulation among different
countries and markets. “Canned programming” is typically the output of a
specific national TV and media system, but it spills across borders when
licensed into different territories.

Ready-made content has a long tradition of international selling and
distribution: it has provided a crucial element in the offers and
strategies of various broadcasters, and has moreover contributed to the
definition of network identity and brands in many different national
contexts. From a historical point of view, international markets have long
been dominated by north-American ready-made programs (particularly in the
forms of drama series, TV movies and, of course, films); however, in
certain periods specific poles of production and exportation have also
emerged elsewhere (Havens: 2006). Within Europe, the situation has been
more fluid, with many examples of pre-sales and even co-production of
series strongly rooted within a single culture, but subtly adapted to wider
European audience tastes. The recent success of Danish drama is a recent
example of this tendency. More recently, multi-channel and new forms of
distribution have created new markets for ready-made programming, from
successful experiments like UK Channel 4’s ‘Walter Presents’ (now being
rolled out across Europe) to niche channels that show multiple variants of
the same format from different cultures. Indeed, the current state of
development of global players like Netflix and Amazon could also be seen as
pan-world providers of traditional American ‘canned content’. The European
context can be interpreted dually, as a place where ready-made programming
has been imported from other countries, but also a space for the production
and diffusion of original content in different genres, within and beyond
the continent.

This special issue of VIEW focuses on the international circulation and
distribution of ready-made content, in the form of scripted products,
considering both TV fiction and films. Possible proposals are invited in
(but not limited to) the following areas:

*The history of transnational TV content circulation;
*The TV distribution of films and ready-made content in the European
context and beyond;
*US content versus EU content in past and contemporary European TV;
*The role of emerging markets and nations in the production and
distribution of ready-made programs;
*The circulation of traditional and innovative ready-made genres: TV
movies, series, factual entertainment, etc.;
*New models for international distribution of content: the emerging role of
OTT services in the internationalisation of programs;
*International co-productions and their distribution policies;
*Practices of TV industry professionals in the area of international
distributions: markets, deals, professionals, routines;
*Localizing and adapting foreign ready-made content, for example through
dubbing, subtitling and voice overs;
*The role of bottom-up circulation: fan-subbing practices and communities,
and the “shadow economy” of content.


Contributions are encouraged from authors with different kinds of expertise
and interests in media studies, television and media history.

Paper proposals (max. 500 words) are due on November 19th, 2018.
Submissions should be sent to the managing editor of the journal, Dana
Mustata. A notice of acceptance will be sent to authors by early December

Articles (3 – 6,000 words) will be due on June 10th, 2019. Longer articles
are welcome, given that they comply with the journal’s author guidelines (

For further information or questions about the issue, please contact its
co-editors: Massimo Scaglioni ([log in to unmask]), Damiano
Garofalo ([log in to unmask]) (Università Cattolica del Sacro
Cuore, Milan) and Dominic Holdaway ([log in to unmask]) (Università
di Bologna).

About VIEW Journal

See for the current and back issues. VIEW is supported
by the EUscreen Network ( and published by the
Netherlands Institute for Sound and Vision in collaboration with Utrecht
University, Royal Holloway University of London, and University of
Luxembourg. VIEW is proud to be an open access journal. All articles are
indexed through the Directory of Open Access Journals, the EBSCO Film and
Television Index, Paperity and NARCIS.


*Charley Smeets*
Kennis en Innovatie


*Nederlands Instituut voor Beeld en Geluid*
*Media Parkboulevard 1, 1217 WE  Hilversum | Postbus 1060, 1200 BB
Hilversum | **

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