By Joost de Bruin, Koos Zwaan
Because the first sequence of dad Idol aired within the united kingdom simply over a decade in the past, Idols tv indicates were broadcast in additional than 40 nations around the world. In all these international locations the worldwide Idols layout has been tailored to neighborhood cultures and creation contexts, leading to a plethora of alternative models, starting from the Dutch Idols to the Pan-Arab tremendous megastar and from Nigerian Idol to the overseas blockbuster American Idol. regardless of its around the world luck and common journalistic assurance, the Idols phenomenon has acquired purely constrained educational attention.Adapting Idols: Authenticity, identification and function in an international tv layout brings jointly unique reviews from students in numerous elements of the realm to spot and assessment the efficient dimensions of Idols. As one of many world's so much winning tv codecs, Idols bargains a different case for the examine of cultural globalization. Chapters speak about how Idols exhibits tackle specific nationwide or nearby id politics and the way Idols is fed on by way of audiences in numerous territories. This ebook illustrates that although an identical tv layout is utilized in nations everywhere in the globe, practices of edition can nonetheless bring about the production of targeted neighborhood cultural items.
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Additional info for Adapting Idols: Authenticity, Identity and Performance in a Global Television Format
Thus, let us now turn to a comparison of the Australian and Danish television systems. Australia’s and Denmark’s Television Systems The choice of Denmark and Australia for the case study presented in this chapter is not accidental. First of all, Denmark and Australia each represent a fairly distinct sub-region within what has been termed the European geo-linguistic region, more specifically the Scandinavian/Northern European and the Anglophone region respectively (Cunningham, Jacka and Sinclair 1998).
However, there are differences in this youthfulness. The Australian presenters appear more serious and play a more lowkey and discreet role in the programme than the Danish presenters, who in turn seem sillier, more dominant and at times even obtrusive. An example of this is that the Danish presenters, Uffe Holm and Thomas Villum Jensen, do a sketch in every episode. These sketches mainly consist of the presenters dressing up in costumes. In one episode, we see them dressing up as various rock stars because the theme is rock.
Thirdly, one of Australian culture’s most popular self-reflections is the so-called ‘larrikin’, who is characterized precisely by being defiant and ridiculing towards authorities (Bellanta 2008). Idols: ‘The Cheeky Boy in Class’ A closer look at the editorial policies behind the two adaptations further substantiates the media systemic argument. For the Danish TV3, Idols was part of a branding strategy meant to distinguish the channel from the other Danish channels, especially the main competitor, publicly owned but advertiser-funded TV2.