[ecrea] VIEW Journal Call for Papers

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.

Practical

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 2018.

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 (http://viewjournal.eu/author-guidelines/).

For further information or questions about the issue, please contact its 
co-editors: Massimo Scaglioni ((massimo.scaglioni /at/ unicatt.it) 
<mailto:(massimo.scaglioni /at/ unicatt.it)>), Damiano Garofalo 
((damiano.garofalo /at/ unicatt.it) <mailto:(damiano.garofalo /at/ unicatt.it)>) 
(Università Cattolica del Sacro Cuore, Milan) and Dominic Holdaway 
((dominic.holdaway /at/ unibo.it) <mailto:(dominic.holdaway /at/ unibo.it)>) 
(Università di Bologna).

About VIEW Journal

See www.viewjournal.eu <http://www.viewjournal.eu> for the current and 
back issues. VIEW is supported by the EUscreen Network 
(http://blog.euscreen.eu/) 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.


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