The aim of this diploma thesis is to describe how successfully are global television formats adapted in the region of Central Europe. Media systems in the Czech Republic, Hungary, Poland and Slovakia were considerably transformed after the fall of communism in the 1990s. Television markets started to be built within the new media systems. This thesis describes a globalization theory with focus on the concepts of cultural imperialism and cultural globalization. Emergence of the global television formats is one of the most visible processes within the globalization. There is a prevailing opinion presently that the global formats contributes in some ways to cultural heterogenization and pluralization. Local adaptations of global formats acquire meanings of national culture. The term glocalisation is connected with spreading of the global formats. This term is nowadays used more often than the term globalisation in relation to global formats. This diploma thesis is concerned with the adaptation of formats in the countries of Central Europe. Popularity of global formats in this region is compared on the basis of ratings. There is also evaluated which format has the most universal impact in the region and if audiences in these countries have similar cultural preferences. Afterwards, other trends typical...

Diploma thesis "Television formats transmission into Czech environment since the creation of the dual system in the Czech Republic" focuses on television formats which have been adapted in the Czech television industry since 1994. TV formats, the primary analytical object of this thesis, belong among the strongest aspects of media globalization. Since specific television formats spread the same structure, idea and concept, they increasingly influence the practice in television markets and the process of globalization all over the world. With this continuity, the paper describes the theory of globalization, focusing on cultural and media imperialism. Further, newer theories of globalization and their subsequent transformation are described. Based on this theoretical basis, the thesis describes, which TV formats have been adapted since 1994 in the Czech Republic. Our analysis is based on in-depth interviews with Czech television professionals who have experiences with the purchasing and subsequent adaptation of television formats. The thesis provides the overview of all adapted TV formats in the Czech Republic, and describes reasons, difficulties and the overall process of adapting licensed television formats. Powered by TCPDF (www.tcpdf.org)

This thesis deals with talent show Got Talent and through this television format compares four culturally different adaptations. This comparision is based on analysis of these four shows: Česko Slovensko má talent, America's Got Talent, Britain's Got Talent and China's Got Talent. Content of the shows is different in many respects thanks to distincts in television histories and diverse culture in each territory. The theoretical part focus on culture and development in television broadcasting in selected countries. Another chapter describes the market with licenses for television formats and differencies in local adaptations of shows and series. Content analysis itself was based on comparison of selected series of the show Got Talent and particular episode. It was found that worldwide television formats differ in many respects. Rules of the show, roles of the judges, dramaturgical structure of episode and casting of contestants are adapt to local culture and lifestyle. There are some common features in shows on the other hand: emphasis on personal life stories of the contestants and effort to create integrated story for whole episode through specific structure of the episode. We can say that television shows has influence on culture and culture affects content of the programme.

Teoretickým východiskem této práce je fenomén globalizace, který pronikl do všech domén včetně mediální, jejíž součástí jsou právě televizní formáty, o kterých tato neboť v sobě mísí prvky globální a zároveň lokální kultury, kdy na základě zakoupení zahraniční licence vzniká celá řada lokálních verzí, jež jsou lokálními specifiky dané kultury. Jedná se o stále vzrůstající h počátků, spojených s formáty, rozštěpil mezi všechny žánry, včetně dramatické tvorby. Tato práce se soustředí na adaptace zahraničních televizních formátů v České televizi. Mapuje nejen vývoj tohoto trendu v jediném českém veřejnoprávním televizním médiu, ale taktéž se věnuje důvodům, které vedou ke koupi zahraničních licencí pro médium, jehož výsadou by měla být původní tvorba. Právě otázka veřejnoprávnosti a s ní se pojící specifika výběru obsahu pro toto médium jsou pilířem této diplom

Les séries télévisées de fiction suscitent depuis quelques années un intérêt sans précédent dans leur histoire, qui amène à s’interroger sur le sens pris par cette forme de fiction. Mais, à cette question de la signification de l’objet, s’ajoute celle de la méthode permettant d’y répondre. Récits, fictions, les séries sont aussi des produits commerciaux et industriels et, de ce fait, fortement déterminées par leurs contextes de production et de réception.Depuis 1996 et la dérégulation des télécommunications aux Etats-Unis, le paysage médiatique et le marché télévisuel, américains puis internationaux, ont connu d’importants bouleversements économiques et technologiques dont une des conséquences a été l’adoption de stratégies d’expansion et de branding des programmes, qui prennent un tour inédit et auxquelles les séries n’échappent pas.Adaptées, dérivées, reprises, les séries, notamment dramatiques, se franchisent, faisant apparaître alors ce qui constitue une spécificité de la création sérielle, le format. Forme minimale de la fiction, le format consiste en une présentation écrite qui en fixe les constituants fondamentaux permettant non seulement sa sérialisation mais aussi sa distribution.A partir de formats et de franchises de séries dramatiques américaines de la décennie initiée à 1996, cette thèse se propose d’examiner en quoi le format pourrait contribuer à enrichir l’étude des séries télévisées dans une perspective autant théorique qu’interprétative. / Since the beginning of the 2000s, television series arouse an unheard-of interest in their history, which brings to question the sense of this kind of fiction. But, in this issue of the meaning of the object, is also the one of the method to answer it.Narratives and fictions, series are also commercial and industrial products and, therefore, strongly determined by their contexts of production and reception. Since 1996 and the deregulation of telecommunications in the United States, american then international media landscapes and markets have known important economic and technological upheavals which led to new strategies of expansion and branding of the programs, in an unprecedented tourAdapted, spun off, remade, dramatic series lead to franchises, revealing then what establishes a specificity of the serial creation : the format. The television format is a written presentation which sets the fundamental core of the fiction, allowing not only serialization but also its distribution.Studying formats and franchises of American dramatic series of the decade introduced in 1996, this thesis examines how the television format could contribute to enrich the study of television series in a theoretical as well as in an interpretative objective.