A reporter for the "Los Angeles Times" once noted that a"I Love
Lucy" is said to be on the air somewhere in the world 24 hours a
day.a That Lucyas madcap antics can be watched anywhere at any time
is thanks to television syndication, a booming global marketplace
that imports and exports TV shows. Programs from different
countries are packaged, bought, and sold all over the world, under
the watch of an industry that is extraordinarily lucrative for
major studios and production companies.
In Global TV, Denise D. Bielb and C. Lee Harrington seek to
understand the machinery of this marketplace, its origins and
history, its inner workings, and its product management. In so
doing, they are led to explore the cultural significance of this
global trade, and to ask how it is so remarkably successful despite
the inherent cultural differences between shows and local
audiences. How do culture-specific genres like American soap operas
and Latin telenovelas so easily cross borders and adapt to new
cultural surroundings? Why is aThe Nanny, a whose gum-chewing star
is from Queens, New York, a smash in Italy? Importantly, Bielby and
Harrington also ask which kinds of shows fail. What is lost in
translation? Considering such factors as censorship and other such
state-specific policies, what are the inevitable constraints of
crossing over?
Highly experienced in the field, Bielby and Harrington provide a
unique and richly textured look at global television through a
cultural lens, one that has an undeniable and complex effect on
what shows succeed and which do not on an international scale.
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