What television viewers around the world watch often depends less
on popularity or government policies than on the personal
relationships between buyers and sellers in the international
programme market. A few thousand acquisitions and distribution
professionals decide what programmes the earth's inhabitants can
watch, and who can watch them. This book provides an inside look at
the cultural assumptions and business practices of these television
merchants. It argues that the market in television programs
responds principally to institutional needs, rather than to the
wishes of the viewing public or the skills of television's creative
artists. Leaving aside conventional questions about the production
contexts, textual strategies, or popular reception of entertainment
television worldwide, this project trains its focus on the business
practices of global television sales in order to provide a lucid
overview of the diversity of firms, business practices, and
programming genres present in international television.
Consequently, this volume provides the first comprehensive portrait
of the operations of the international television business, the
people who work in the business, and the ideas that circulate among
these businesspeople. Such a portrait is crucial to any theoretical
treatment of television globalisation, since international
television executives determine global television flows in the
first instance, based on their own understandings of the economics
of the business and the preferences of their primary audiences.
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