Lesson 1: Defining Formats PDF

What is a format? IMEB Editorial Lesson 1 Topic: Defining Formats 1 What do you already know about formats? To start this lesson, please go to Modules>IMEB Editorial – Course Material>Week 1: Course Introductions/Formats>IMEB Editorial: Pre-knowledge quiz (not graded) on...

What is a format? IMEB Editorial Lesson 1 Topic: Defining Formats 1 What do you already know about formats? To start this lesson, please go to Modules>IMEB Editorial – Course Material>Week 1: Course Introductions/Formats>IMEB Editorial: Pre-knowledge quiz (not graded) on Formats Answer the 9 questions in this quiz (which is not graded but used to stimulate your thinking) by 11:00. 2 What are or have been your favourite non-fiction television shows? 3 Topics A TV format as A licensed remake A recipe A proof of concept A method of production 3 paradoxes Categorizing Non-Fiction Formats: The 3 C’s 4 What are tv formats? As a licensed remake 5 According to Christoph Fey… Former managing director of the Format Recognition & Protection Association (FRAPA) A format is ‘a recipe for “making remakes”’ (EBU, 2005, p.3) Format trading is ‘the selling of remake rights which enable buyers to produce a local remake of the original program talented to suit their domestic television maker” (EBU, 2005, p.3) (Chalaby, 2016, p. 8) 6 Question #1 What is a TV format primarily compared to in the context of format studies? a. A novel b. A blueprint c. A recipe d. A script 7 Question #1 What is a TV format primarily compared to in the context of format studies? a. A novel b. A blueprint c. A recipe d. A script 8 Question #2 What is the primary purpose of a TV format? a. A licensed remake b. A guideline for making remakes c. A method of production d. A proof of concept 9 Question #2 What is the primary purpose of a TV format? a. A licensed remake b. A guideline for making remakes c. A method of production d. A proof of concept 10 Format Rights… An unnamed leading UK-based distributor define format rights as… ‘Format rights means (a) the right to license third parties outside the territory of the Primary Broadcaster the right to develop and produce one or more New Progammes based on the Format; (b) the right to authorize such third parties to distribute, exhibit, perfom, broadcast or otherwise exploit such New Programmes in the territory where the New Programme are produced in perpetuity; and (c) the right for Distributor to exploit the New Programmes in any media worldwide and/or license such right to a third party. (2012) (Chalaby, 2016, p. 9) 11 Question #3 What do format rights include? a. The right to license third parties outside the territory of the Primary Broadcaster to develop and produce new programs based on the format. b. The right to create original content based on the format within the territory of the Primary Broadcaster. c. The right to restrict third parties from distributing or broadcasting new programs based on the format. d. The right to produce and distribute new programs based on the format exclusively within the territory of the Primary Broadcaster. 12 Question #3 What do format rights include? a. The right to license third parties outside the territory of the Primary Broadcaster to develop and produce new programs based on the format. b. The right to create original content based on the format within the territory of the Primary Broadcaster. c. The right to restrict third parties from distributing or broadcasting new programs based on the format. d. The right to produce and distribute new programs based on the format exclusively within the territory of the Primary Broadcaster. 13 Format Rights… The rights above exist amongst other rights… Ancillary rights: exploit a program in any media, and comprise merchandising rights, interative & multimedia rights, music publishing rights, online rights, publishing rights, radio rights, stage rights and theatric rights Clip sales rights: the right to sell or license extracts from the programme for inclusion in other programs or media Television rights: broadcaster new media rights, collecting society rights, interactive television rights, non-theatric rights, and video-on-demand rights Video rights: the right to manufacture, duplicate, promog, distribute and sell or rent the program on or in a videogram such video cassette, DVD, CD-ROM and any other similar device (Chalaby, 2016, p. 9) 14 Question #4 Which of the following best describes ancillary rights in the context of format rights? a. The right to sell or license extracts from the program for inclusion in other programs or media. b. The right to manufacture, duplicate, distribute, and sell or rent the program on various video formats. c. The right to distribute and showcase the program on digital platforms such as streaming services and online video platforms. d. The right to exploit a program in any media, including merchandising, interactive & multimedia, music publishing, online, publishing, radio, stage, and theatrical rights. 15 Question #4 Which of the following best describes ancillary rights in the context of format rights? a. The right to sell or license extracts from the program for inclusion in other programs or media. b. The right to manufacture, duplicate, distribute, and sell or rent the program on various video formats. c. The right to distribute and showcase the program on digital platforms such as streaming services and online video platforms. d. The right to exploit a program in any media, including merchandising, interactive & multimedia, music publishing, online, publishing, radio, stage, and theatrical rights. 16 Legality surround formats… Scripted (fiction) formats are the most easily protectable: storylines & characters Reality (non-fiction) formats are more difficult to safeguard against copyright infringement Industry experts believe non-fiction formats need to be recognized for the stories they tell We hope to use the analogy of the novel [in future legal cases] to prove that formats are copyrightable. Intellectual property like novels go beyond words on the page but are about characters and their relationships. Similarly, TV formats should be seen as a narrative of televised events arranged in a time sequence. (Chalaby, 2016, p. 9) 17 Question #5 Why do industry experts believe non-fiction TV formats should be recognized for the stories they tell? a. Because they are easier to safeguard against copyright infringement. b. Because they are similar to novels, which are recognized as intellectual property beyond just words on a page. c. Because they do not involve characters and relationships. d. Because they are primarily focused on scripted dialogues. 18 Question #5 Why do industry experts believe non-fiction TV formats should be recognized for the stories they tell? a. Because they are easier to safeguard against copyright infringement. b. Because they are similar to novels, which are recognized as intellectual property beyond just words on a page. c. Because they do not involve characters and relationships. d. Because they are primarily focused on scripted dialogues. 19 Non-fiction formats as storytelling… Supernanny, Faking It, Wife Swap, The Apprentice, Secret Millionaire and Grand Designs – all giants of the reality genre. All have very clear first and last acts – a call to action and a final judgment – but between them too, within the constraints of reality they’re derived from, the same structure as Shakespeare, as Terence and as Horace. In all you can see the pattern – initial enthusiasm, goals achieved, things falling apart, catastrophe faced and victory snatched from the jaws of defeat. The king of them all, The X Factor, works by following a very clear…act structure; in fact all reality television is build on classic Shakespearian shape. (Chalaby, 2016, p. 10) 20 Classic Shakespearian Shape Refers to the structure of William Shakespeare’s plays, which use a 5-act structure that builds dramatic tension and resolution in a balanced & impactful way. It allows for a clear progression of conflict, climax, and resolution ensuring an engaging narrative arc. The Five-Act Structure: 1. Act I: Exposition 2. Act II Rising Action (Complication) 3. Act III: Climax 4. Act IV: Falling Action 5. Act V: Resolution/Denouement 21 Why classic? Symmetry and Balance Emotional Journey Universality 22 Classic Shakespearian shape in 3- Acts 1. Act 1: Setup (Exposition & Inciting Incident) Introduces the world, characters, and central conflict. By the end, an inciting incident occurs, propelling the protagonist into the story. 2. Act 2: Confrontation (Rising Action & Climax) The protagonist faces obstacles and challenges while striving to achieve their goal. The tension escalates, leading to the midpoint (a significant event that shift the stakes) and the climax (the turning point) 3. Act 3: Resolution Resolves the conflict, either positively or negatively, and provides closure to the story. 23 Classic Shakespearian shape in 3- Acts 3-Act Structure 5-Act Structure Act 1: Setup (must include inciting Act I: Exposition & part of Act II: incident) Rising Action Act 2: Confrontation Part of Act II, Act III, and part of Act IV Act 3: Resolution Part of Act IV and Act V 24 3-Act Shakespearian structure applied to Who Wants to be a Millionaire? Act I: Setup (Exposition + Inciting Incident) Purpose: Introduce the contestant, establish the rules of the game, and begin the journey. What Happens: The host welcomes the audience and introduces the contestant. The rules of the game are briefly explained (e.g., answer multiple-choice questions to win increasing amounts of money, with lifelines for help). The contestant begins answering the lower-stakes questions, building confidence and setting the tone. Example from Who Wants to Be a Millionaire?: A contestant is introduced with a short backstory (e.g., "a teacher from Kansas hoping to pay off student loans"). The first few questions are easy (e.g., "What is the capital of France?") and serve as warm-ups, with the audience cheering. 25 3-Act Shakespearian structure applied to Who Wants to be a Millionaire? Act II: Confrontation (Rising Action + Climax) Purpose: Escalate the tension and stakes as the questions become harder and the contestant faces significant challenges. What Happens: The contestant progresses to the mid-tier and high-stakes questions, where the difficulty increases significantly. Lifelines (e.g., phone a friend, 50/50) are used, showing the contestant's strategy and resourcefulness. The climax occurs when the contestant faces a pivotal, high-stakes question (e.g., the one before the million-dollar question), which could result in a huge gain or loss. Example from Who Wants to Be a Millionaire?: A contestant reaches a question worth $250,000 and uses the "Ask the Audience" lifeline, but the audience's response is split, adding to the drama. The contestant must decide whether to risk their current winnings and proceed or take the guaranteed payout. 26 3-Act Shakespearian structure applied to Who Wants to be a Millionaire? Act III: Resolution (Falling Action + Denouement) Purpose: Resolve the game’s tension, showcasing either victory or loss and providing closure. What Happens: The contestant either answers the final question correctly, achieving the ultimate prize, or decides to walk away with their current winnings. If they answer incorrectly, the dramatic fall is emphasized, often with a consoling gesture from the host. The show ends with applause, a recap of the contestant's journey, and a transition to the next episode or contestant. Example from Who Wants to Be a Millionaire?: The contestant risks everything on the million-dollar question, answers correctly, and wins the top prize. The host congratulates them, highlights their story, and the audience erupts in celebration. Alternatively, if the answer is wrong, the tension resolves with a heartfelt consolation: "You played a great game and walk away with $32,000." 27 3-Act Shakespearian structure applied to Who Wants to be a Millionaire? Why it works? The 3-act structure paired with the Hero’s Journey creates a compelling, universally relatable framework for even something as procedural as a game show. It allows viewers to connect with contestants as they transform from ordinary individuals into heroes navigating a high-stakes adventure, complete with mentors (the host), allies (lifelines), and trials (questions). The combination of escalating stakes and emotional payoff ensures engaging storytelling. 28 Like Shakespeare, non-fiction formats use a hero’s journey structure 29  A Reality Cooking Competition The Normal/Ordinary World: The contestant is introduced in their ordinary world, perhaps as a home cook or aspiring chef with a passion for culinary arts. The contestant, having grown and transformed throughout the competition, returns to their ordinary world perhaps as a winner or having gained valuable experience. Master of Two Words, or the Resurretion, is the final challenges or cook-offs Call to Adventure occurs when the contestant decides to enter the which represent the climactic moments where the contestant confronts the cooking competition, stepping outside their comfort zone. Refusal to last hurdle before the ultimate goal. Call is when the contestant expresses doubts, fears or reservations. The contestant meets the show’s experienced chefs, judges, or mentors who provide guidance, advice, support. The contestant, having succeeded in previous challenges, now faces the The contestant enters the competition environment, leaving the ordinary final stretch or the competition, gearing up for the ultimate prize. world behind. The first challenges & eliminations The contestant faces various cooking challenges (tests) and forms alliances or rivalries with other contestants (allies & enemies). Apotheosis, or reward (seizing the sword), is when the contestant receives recognition, praise, or a Approach to the Inner Cave occurs when contestants face the most critical tangible reward such as immunity or advancement to the next round. challenges or pivotal moments in the competition, high-stakes cooking tasks or eliminations. The ordeal is a significant and intense challenge within the competition, where the contestant’s skills and determination are put to the ultimate test. 30  The Amazing Race The Normal/Ordinary World: The contestants are introduced in their ordinary lives, usually as pairs of individuals with pre-existing relationships. The winning team returns home with the ‘elixir’, representing the title to ‘The Amazing Race’ champions and the experiences gained during their journey around the world. Oh yeah, and a million dollars! Call to Adventure occurs when the contestant decides to enter ’The Amazing Race’ to compete in a global race around the world. The final legs of the race represent the climactic moments where teams confront the last hurdles before potentially winning the race. The Refusal occurs when contestants may express reservations or concerns about the challenges they’ll face during the race - doubts surface. The show’s host, Phil Keoghan, and the show’s production team serve as mentors, providing guidance and explaining the rules of the race. The road back involves teams advancing through the race, dealing with Crossing the threshold happens when the teams embark on their first leg of setbacks, and preparing for the final leg. the race, leaving the oridinary lives behind. Teams face various challenges (tests) that test their physical and mental abilities. They form alliances with other teams or may encounter rivalries (enemies). Winning a leg of the race or receiving a prize servers as a reward, giving teams an advantage or The innermost ave is represented by the more difficult challenges or unique locations recognition for their performance. the tams encounter as they progress through the race. The ordeal is a particularily challenging leg of the race where teams face intense competition and may struggle to oveercome obstacles. 31  Jeopardy! The Normal/Ordinary World: The contestant begins in their ordinary life, perhaps as a viewer of the show or a trivia enthusist with a desire to test their knowledge. The return with the elixir is the contestant leaving the game with their winnings, newfound knowledge, and potentially the title of a returning champion,. Call to Adventure occurs when the contestant decides to participates in ‘Jeopardy!’ and put their knowledge to the test. Each game of ‘Jeopardy!’ reprsents a mini-resurrection, as contestants overcome setbacks, incorrect responses, and strategic challenges to succeed in individual The Refusal occurs when contestants may initially hestiate or doubt their ability rounds. to compete on a nationally televised quiz show. The show’s long-time (but no longer) host, Alex Trebek, serves as mentor figure, guiding contestants through the rules and flow the the game. For returning champions, the road back involves preparing for subsequent Crossing the threshold takes place when the contestant steps onto the appearances and facing new opponents. game show set and faces the iconic game board for the first time. The tests involve answering a series of trivia quesitons. Contestants become ‘enemies’ of each other but trying to note weaknesses of the others and choosing those categories but at the same time forming a ‘secret’ alliance with a contestant who can help them achieve. Winning the game is the ultimate reward, and it often comes with cash prizes, the satisfaction of knowledge, and the potential for returning as the champion. The innermost cave is the final round where contestants have the opportunity to wager and potentially double their winnings. The ordeal is the intense final found where contestants must carefully strategize their wagers and respond to challenging clues to secure victory. 32 3-Act Shakespearian structure with Hero’s Journey Act I: Setup (Exposition + Inciting Incident) Hero’s Journey Stages: Ordinary World: The hero starts in their everyday life. Call to Adventure: A challenge or opportunity arises, pulling the hero out of their comfort zone. Refusal of the Call (optional): The hero hesitates or doubts. Meeting the Mentor: The hero gains guidance or tools for the journey ahead. Shakespearean Alignment: This act introduces the hero (contestant), their world, and the stakes. The inciting incident launches the adventure. 33 3-Act Shakespearian structure with Hero’s Journey Act II: Confrontation (Rising Action + Climax) Hero’s Journey Stages: Crossing the Threshold: The hero enters an unfamiliar world or situation. Tests, Allies, and Enemies: The hero faces challenges, makes allies, and confronts obstacles. Approach to the Inmost Cave: The hero prepares for the most significant challenge. Ordeal: The climax; the hero faces their greatest test and risks failure. Shakespearean Alignment: This act focuses on escalating tension as the hero faces increasingly difficult challenges and makes critical decisions. 34 3-Act Shakespearian structure with Hero’s Journey Act III: Resolution (Falling Action + Denouement) Hero’s Journey Stages: Reward (Seizing the Sword): The hero emerges victorious and gains their reward (or suffers loss). The Road Back: The hero returns to their ordinary world with newfound wisdom or resources. Resurrection: A final test or transformation ensures the hero is truly changed. Return with the Elixir: The hero reintegrates into their world, bringing back their reward or lesson. Shakespearean Alignment: The story concludes with resolution and reflection on the hero’s journey, whether triumphant or tragic. 35 3-Act Shakespearian structure with Hero’s Journey applied to Who Wants to be a Millionaire? Act I: Setup (Exposition + Inciting Incident) Ordinary World: The contestant is introduced, sharing their background (e.g., a teacher, a nurse, or a parent trying to pay off debt or fulfill a dream). Call to Adventure: The contestant accepts the challenge of competing for the million-dollar prize. Meeting the Mentor: The host (e.g., Regis Philbin) explains the rules and offers guidance on how to use lifelines effectively. Example: The contestant begins answering easy questions, gaining confidence. The audience becomes familiar with their personality and motivations. 36 3-Act Shakespearian structure with Hero’s Journey applied to Who Wants to be a Millionaire? Act II: Confrontation (Rising Action + Climax) Crossing the Threshold: The contestant moves beyond the low-stakes questions into higher-stakes territory. Tests, Allies, and Enemies: Lifelines serve as allies (e.g., “Phone a Friend”), while increasingly difficult questions test the contestant’s knowledge and composure. Approach to the Inmost Cave: The contestant faces a critical decision, often using their final lifeline. Ordeal: The climax occurs when they answer a high-stakes question that determines whether they can proceed to the million-dollar prize or walk away. Example: The contestant faces a $500,000 question. They’ve run out of lifelines, and the stakes are high. The dramatic music underscores the tension. 37 3-Act Shakespearian structure with Hero’s Journey applied to Who Wants to be a Millionaire? Act III: Resolution (Falling Action + Denouement) Reward (Seizing the Sword): The contestant either answers the final million-dollar question correctly, winning the top prize, or decides to take their winnings and walk away. The Road Back: If victorious, the contestant celebrates and reflects on their journey. If they lose, they leave with consolation money and a story to tell. Resurrection: In either case, the contestant gains a transformative experience, whether it’s newfound fame, financial freedom, or the lessons learned from their choices. Return with the Elixir: The contestant returns to their ordinary world, forever changed by their experience on the show. Example: The contestant wins $1 million, becomes emotional, and shares their plans for the money (e.g., paying off loans, helping family, or starting a business). Alternatively, they lose but express gratitude for the opportunity. 38 Non-fiction formats use story engines… An engine is essentially the set of rules and format points designed to create dramatic arcs and storylines! Format point examples include - Piles of cash - Particular tasks or challenges - Special features Classic story engine is the elimination process Drama comes from ‘trigger moments’ = cliffhangers - Unexpected twists - Nomination nights - Questions worth large sums of money - Public votes Protagonist’s transformation (Chalaby, 2016, p. 10) 39 Universal Teaser Open: Format Points A quick preview of key dramatic moments to entice viewers. Commercial Cliffhangers: A moment of high tension just before a commercial break, compelling viewers to stay tuned. Dramatic Music Cues: Audio cues that heighten tension or emotion during key moments. Recurring Catchphrases: Memorable lines associated with the host or format (e.g., “Is that your final answer?” in Who Wants to Be a Millionaire Participant or Audience Reactions: Close-ups of emotional or shocked reactions from contestants, judges, or the live audience. Conflict/Resolution Arc: Tension is introduced and resolved within the episode, ensuring a satisfying narrative. Closing Montage: A wrap-up sequence summarizing the episode’s highlights or celebrating the outcome. Why Format Points Work Predictability: Viewers know what to expect, which keeps them comfortable and engaged. Dramatic Arc: Format points ensure that each episode has a clear progression of tension, climax, and resolution. Identity: Unique format points differentiate one show from another, creating distinct branding (e.g., the Golden Buzzer in America’s Got Talent). 40 The Elimination Process 1. Creates Dramatic Tension Uncertainty of Outcome: The elimination process generates suspense as contestants await their fate, keeping viewers emotionally invested. Cliffhangers: Eliminations are often revealed after a dramatic pause, leveraging music, editing, and host delivery to maximize tension. Escalating Stakes: With fewer contestants remaining, each elimination feels more impactful, amplifying the drama. Example: In Survivor, the Tribal Council elimination is a pivotal moment that builds throughout the episode, with alliances and strategies leading up to the vote. 2. Enhances Emotional Investment Viewer-Contestant Connection: As contestants face elimination, audiences grow attached to their stories, rooting for favorites and feeling the emotional weight of each departure. Underdog Arcs: Eliminations can build underdog narratives as weaker contestants unexpectedly survive, while stronger competitors face surprising exits. Human Drama: The reactions—tears, relief, frustration—create raw, relatable moments that resonate with viewers. Example: On American Idol, elimination episodes often focus on contestants’ emotional journeys, fostering empathy and connection. 3. Drives Viewer Engagement Audience Participation: Shows with voting systems (The Voice, America’s Got Talent) engage viewers by making them feel responsible for the outcome. Social Media Buzz: Elimination results often spark discussions, debates, and memes, generating buzz and increasing the show's reach. Speculation and Prediction: Viewers enjoy analyzing performances, alliances, or strategies to predict who will be eliminated next. Example: On Big Brother, fan forums and live feeds allow audiences to dissect alliances and predict evictions, deepening engagement. 41 The Elimination Process 4. Structures the Narrative Arc Episode Pacing: The elimination process provides a clear structure, with the lead-up to elimination serving as the climax of each episode. Seasonal Momentum: As the pool of contestants narrows, the narrative intensifies, leading to a finale with the remaining few competitors. Conflict and Resolution: Eliminations create natural tension between contestants, resolved when someone leaves, resetting dynamics for the next round. Example: In The Bachelor, rose ceremonies serve as climactic moments that punctuate each episode, creating a rhythm for the show. 5. Reinforces Meritocracy (or Appears to) Performance-Based Elimination: In talent shows (The X Factor), eliminations are framed as a reflection of skill or effort, reinforcing the idea of fairness. Strategic Eliminations: On strategy-based shows (Survivor, The Amazing Race), eliminations highlight contestants’ gameplay, rewarding cunning or teamwork. Controversies and Twists: Unexpected eliminations or unfair outcomes can spark outrage, keeping the show unpredictable and fueling interest. Example: In Project Runway, eliminations are tied to creative ability, with judges’ critiques shaping the narrative of who deserves to stay. 6. Builds Towards the Climax Final Showdown: The gradual elimination process narrows the field, building anticipation for the finale, where the best (or luckiest) contestants face off. Rewarding the Audience: Loyal viewers who have followed contestants’ journeys feel rewarded when a favorite wins or achieves redemption. Example: In RuPaul’s Drag Race, the final elimination leads to a climactic lip-sync battle, resolving the season-long competition. 7. Emotional Catharsis for Viewers Closure: Each elimination offers a moment of resolution, allowing viewers to process the departure of contestants and reset for the next round. Relatable Loss: The process mirrors real-life challenges and setbacks, making the show’s outcomes resonate on a personal level. Example: In Top Chef, contestants eliminated after emotional critiques often express gratitude, turning a loss into an inspirational moment. Potential Risks of Eliminations Viewer Backlash: Perceived unfair eliminations or “fan favorites” leaving too early can alienate audiences. Repetition Fatigue: If eliminations become too predictable or formulaic, they may lose their emotional impact. Overreliance on Drama: Shows focusing too heavily on elimination drama can overshadow other compelling elements, such as skill or creativity. 42 Universal Trigger Moments 1.Dramatic Music and Editing: 1. Using audio cues and fast cuts to amplify the importance of a moment. 2. Example: Slow motion paired with intense music during eliminations. 2.Split-Second Reactions: 1. Capturing contestants’ or audiences’ shock, elation, or despair during key moments. 3.Cliffhanger Before Commercial Break: 1. Cutting off at the peak of tension, forcing the audience to wait for resolution. 2. Example: A contestant’s decision to risk everything teased before the break. 4.Host Interventions: 1. The host adds commentary, humor, or conflict to a situation. 2. Example: A host comforting or teasing a contestant in tense moments. 5.Rule-Breaking Consequences: 1. A contestant is caught bending or breaking the rules, leading to penalties or elimination. 6.Audience Participation Drama: 1. Live audience reactions, votes, or feedback create unexpected outcomes. 2. Example: The audience booing or cheering during judge decisions. 7.Heartfelt Goodbyes: 1. Eliminated contestants share emotional final words or hugs with teammates. 43 Question #6 What is a common feature of non-fiction TV formats that helps create dramatic arcs and storylines? a. Format Points. b. Pre-recorded segments. c. Scripted dialogues. d. Format points. 44 Question #6 What is a common feature of non-fiction TV formats that helps create dramatic arcs and storylines? a. Format Points. b. Pre-recorded segments. c. Scripted dialogues. d. Format points. 45 What are tv formats? As a recipe 46 A recipe to sell… A format combines a kernel of rules and principles that are immutable and elements that are adaptable as it travels. Albert Moran, who pioneered format studies, equates format to a ‘cooking recipe’, that is a ’set of invariable elemetns in a programme out of which the variable elments of an individual episode are produced.’ Michiel Rodrique explains that: A format is a recipe. A format is not a product, it is a vehicle, and thus the only raison d’être of formats is the international market… the format is a vehicle which enables an idea to cross boundaries, bultures, and so on, and to be localized in every play where it stops. One of the reasons formats sell is that broadcasters want to know the outcome; therefore a format creates an outcome, arcs, a story, and it does this week in week out. [outcome management] (Chalaby, 2016, p. 10-11) 47 What are tv formats? As a proof of concept 48 Risk Management… Formats rests on the premise that the willingness of broadcasters is to pay for the privilege of outsourcing risk. Therefore, formats depend on RATINGS DATA! - Most broadcasters will review and buy formats based on how well a show has done in the producing country. This is often done by looking at formats on similar channels (public, broadcast, streaming) and audiences (youth-skewed). - Consistent ratings = a solid format! This track record does not guarantee success, but manages risk! (Chalaby, 2016, p. 12) 49 Question #7 What is the significance of "ratings data" in the context of TV formats? a. It helps in scriptwriting. b. It determines the show's budget. c. It manages the risk for broadcasters. d. It influences the casting decisions. 50 Question #7 What is the significance of "ratings data" in the context of TV formats? a. It helps in scriptwriting. b. It determines the show's budget. c. It manages the risk for broadcasters. d. It influences the casting decisions. 51 What are tv formats? As a method of production 52 Format Bibles… Aquiring a format license means getting hold of a show that has been in development for years and produced in at least one other country. This agreement includes a FORMAT/PRODUCTION BIBLE, which contains all the information you need to produce the show - Budgets - Scripts - Set Design - Graphics - Casting Procedures - Host Profile - Selection of Contestants - … (Chalaby, 2016, p. 12) 53 Format Bibles… A TV format is the structure of a show that can generate a distinctive narrative and is licensed outside its country of orgin to be adapted to local audiences. (Chalaby, 2016, p. 13) 54 So, a definition? Two sets of material is found in the bible… - The material that can be altered - The material that cannot be altered This is designed to guard against ill-thought out modifications They contain a lot of LOCAL knowledge, which must be adapted to the new country Consultant Producers (‘flying producers’) travel with format bibles to oversee new productions (Chalaby, 2016, p. 12) 55 Question #8 What is the role of a "format bible" in TV production? a. To provide a script for each episode. b. To outline the budget and casting procedures. c. To list the show's sponsors and advertisers. d. To offer a detailed guide for producing the show. 56 Question #8 What is the role of a "format bible" in TV production? a. To provide a script for each episode. b. To outline the budget and casting procedures. c. To list the show's sponsors and advertisers. d. To offer a detailed guide for producing the show. 57 In summary, three paradoxes of non-fiction television shows… A format is generative not just descriptive – the predetermined set of rules constructs reality in such a way as to guarantee a story (real but not real [paradox 1]) A format lends itself to repetition without replication, by bringing real people into the constructed reality (the same but different [paradox 2]) A format is predisposed to easy adaptation because the constructed reality can be transplanted to many different locations with minimal changes (local, but global [paradox 3]) (Miller, Marshall, Green, 2023, p. 8) 58 Constructed Reality Events, interactions, storylines are shaped or orchestrated by producers to enhance entertainment value! Everthough the shows present themselves as ‘real and unscripted’, they are curated to appear dramatic, engaging, or relatable, creating a hybrid between reality and fiction. Key Features of Constructed Reality in Television 1.Pre-Designed Scenarios: Producers may set up situations or events for participants to react to, creating opportunities for conflict, humor, or emotional moments. 2.Selective Editing: Footage is heavily edited to create a cohesive and compelling narrative. Moments are juxtaposed to emphasize drama or shape the audience's perception of characters or events. 3.Guided Interactions: While participants may not be given a strict script, they are often guided through prompts or nudges to provoke specific responses or actions. 4.Casting for Personality Types: Participants are typically chosen based on their personalities, ensuring a mix of archetypes that contribute to engaging dynamics (e.g., the hero, villain, comic relief). 5.Heightened Reality: Ordinary situations are exaggerated, with conflicts or emotions often magnified to sustain viewer interest. 59 Constructed Reality Examples in Non-Fiction Television Reality TV Shows like The Real Housewives, Jersey Shore, or Love Island are classic examples where interpersonal drama is cultivated through constructed reality techniques. Docu-Soap Formats like Keeping Up with the Kardashians blend elements of everyday life with staged events to heighten the entertainment factor. Competition Shows like The Bachelor or Survivor include elements of constructed reality by creating artificial environments and scenarios that amplify tensions and drama. Ethical Considerations The constructed nature of these shows raises questions about authenticity and the ethical implications of presenting manipulated content as reality. Participants might feel misrepresented, and audiences might take the narratives at face value, believing them to be completely unscripted and authentic. 60 Question #9 What is a key characteristic of non-fiction formats that makes them easily adaptable to different locations? a. High production cost. b. Constructed reality. c. Fixed storyline. d. Localized content. 61 Question #9 What is a key characteristic of non-fiction formats that makes them easily adaptable to different locations? a. High production cost. b. Constructed reality. c. Fixed storyline. d. Localized content. 62 Non-Fiction TV formats concepts What questions should your concept address? 63 Can you address these question in non-fiction tv format you develop? What does it look and sound like? In terms of setting, colors (semiotics), music (semiotics), and so on. Who is on-screen? Are there presenters, judges, participants, contestants, experts, the pubic, even a voice over or a narrator? How is it structured? What is happening? Are there tasks, interviewes, live elements, on location? What happens and how much of it at a time? What is the jeopardy? What is the stake? Where is the climax of the show? How would you characterize it overall? Is it lively and upbest, fast-paced? Or something gentler, and more fluid? Describe it in at least three adjectives. Can you compare it to similar to formats and figure out what makes them different from each other? (Miller, Marshall, Green, 2023, p. 10) How is Campbell’s Hero’s Journey narrative structure represented in your format? 64 Shaping and Categorizing non-fiction tv formats What are three Cs in terms of non-fiction TV formats? 65 What do formats need? A format needs a hook – some form of insight that gets people interested in the subject area. A format needs a driver – something that powers through to the end and demands an answer. A format needs some kind of underlying tension that keeps people interested throughout 30, 45, or 60 minutes of a show and contributes to those elements of surprise. (Miller, Marshall, Green, 2023, p. 44) 66 What lenses can we use to shape formats? Competition Formats Change Formats Choice Formats These are not hard and fast categories but hard and fast genre rules and a foundation to start from (Miller, Marshall, Green, 2023, p. 44) 67 Three C’s What are competition formats? 68 What is the primary principle behind competition formats? Who will win! – use of a pass/fail device throughout the entire show Quiz shows (a sub—category) were some of the earliest formats along with talent shows The talent show has a complex, cross-media history given that amateur talent competitions were part of music halls and other leisure contexts such as pubs, holiday camps, ‘end of pier’ contests and working-class cinemas in the 1930s before the advent of broadcasting. Sub-categories: Survive something, Make something, perform something, enclosed word, other people’s lives and quizzes (Miller, Marshall, Green, 2023, p. 45) 69 What are the sub-categories of competition? 70 What are the sub-categories of competition? 71 What is the primary principle behind change formats? Someone or something undergoes a makeover or change = transformative act which must play out on the screen Some of the earliest: Ground Force (Endemol, 1997) & Changing Rooms (Endemol/Shine, 1996) Sub-categories: Property, Person, Business, Objects (Miller, Marshall, Green, 2023, p. 48) 72 What are the sub-categories of change? 73 What are the sub-categories of choice? 74 What is the primary principle behind choice formats? Decision making is key! Sub-categories: Isn’t It Romantic, Bag a Bargin, All on the House, Doing Business (Miller, Marshall, Green, 2023, p. 49) 75 Preparation for the next lesson In your assigned groups, work together to decide on a classic American tv game show to update for your final IA project. Spend time now looking for clips of these shows and decide as a group which ones (up to three) want to work with. As a group, you need to choose 1 format to adapt for the pilot. Also, look for and view clips of Japanese tv game shows – focused on competition – and make a list of crazy elements included in those shows. Next week, your group will have time to present 3 conceptual remakes of the chosen classical TV show which includes Japanese tv game show elements. Each concept must be for a different target audience. After 1 is chosen, your group will need to create the detailed concept note and include it with your IA documentation. 76 Preparation for the next lesson Truth or Consequences Twenty Questions Name that Tune/Video What’s this song? Don’t Forget the Lyrics! What’s My Line? I’ve Got a Secret To Tell the Truth Match Game Password Family Feud Tic-Tac-Dough What Wants to be a Millionaire? Pictionary Body Language/Charades Win, Lose or Draw Pantomine Quiz Press Your Luck $10,000 Pyramid Jeopardy! The Weakest Link Young families Children under 13 Teenagers (13 – 26) Elderly (+65) Immigrants LGBTQA+ Adults (35 – 65) Business & entrepreneurial minded individuals 77 Assignment Comparison of the Hero’s Journey in TWO non-fiction television formats - Due 18 December 2024 at 23:59 78