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Also für den Mist der Woche für Woche auf SAT.1 unter dem Titel "Der große Sat1-Film", dürfen nicht ein Cent Fördergelder vergeben werden!!!

RMBone hat bereits ein schönes Beispiel gebracht:
- Natalie

Schlimmer geht's nimmer!

 

"Schwachsinn. Die US-Produzenten produzieren für den US-Markt und da ist das Ausland erstmal egal. Auslandsverträge sind ein nettes Zubrot und es wurmt sie natürlich das die Geschäfte nicht mehr so gut laufen, mehr aber auch nicht"

das is 100% falsch! das ausland ist NICHT egal, besonders das europäische!

Zubrot...das ich nicht lache...

guck dir doch mal in der filmindustrie an, da werden 75% der umsatzerlöse aus dem NICHT-AMERIKANISCHEN markt erzielt.

dadurch das seit ein paar jahren viel viel weniger US Serien gekauft wird durch deutschland und ganz besonders frankreich, müssen die amis damit kalkulieren das für eine serie viel weniger geld da ist!
viele serien bekamen erst eine weitere chance, als sich herausstellte das sie in europa ganz gut liefen!

 

Die Filmindustrie arbeitet anders, mal abgesehen davon: Was aus Hollywood kommt, muss nicht gut sein - das meiste ist nämlich durchschnittlicher Müll.

Wie gesagt die Amis produzieren in erster Linie für ihren Markt und alles andere ist erstmal egal.

 

alos ich muss sagen das ich in letzter Zeit und je älter ich werde winken imemr mehr deut. Produktione den amerikanischen vorzeihen. Erstmal fühlt man sich da schon heimischer, schließlich wohne ich in Germany und nicht in den USA. Viele Serienproduktioen brauchen wirklich den Vergleich zu amerikanidchen nicht scheuen. Und die Quoten geben den amchern absolut recht, auch in Umfragen präferieren die TV Zuschauer idr deut. produktioen, also würde ich als Programmchef auch nix anderes machen. Und außer einer handvoll wirklich guten US Serien, kommt hier wirklich alles. Auf US Soap Operas kann man wirklich verzichten und ich bin echt froh das die fast alle endlich vom deut. Bildschirm getilgt wurden.

Es ist in europa ein allg. Trend zu mehr heimischen Produktionen zu beobachten, das hat aber in erster Linie nix mit dem Geld zutun - sonder ein Großteil der Zuschauer fordert das. Ob man da spersönl. nun mag oder nicht, ob dies auch mit dem immer mehr gespaltenden Verhätnis der Europäer zur USA zu tun ... denkt euch selber euren Teil.

 

Nenne mir eine gute deutsche Serie und bitte nicht aus dem Krimi-Bereich, da haben wir einige gute Sachen.

Jeder soll sehen was ihm gefällt. Dank Digitalisierung sollte es kein Problem mehr darstellen.

P.S.: zum gespaltenes Verhältnis: Ich glaube nicht das dass etwas mit Fernsehen zu tun hat.

<small>[ 23. Januar 2003, 18:01: Beitrag editiert von: amsp ]</small>

 

Artikel aus der NY Times, es gibt auch derzeit viel darüber in vershiedenen Fachblättern. Aussage ist bei allen, das in ganz Europa (bzw sogar weltweit) US TV Produktionen immer weniger bedeutung haben. Und der Trend setzt sich weiter fort ...

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U.S. TV Shows Losing Potency Around World
By SUZANNE KAPNER

LONDON — Want to catch the latest episode of the CBS hit "C.S.I." in France? Tune in Saturdays at 11 p.m. How about the CBS show "Judging Amy" in Singapore? Try weekdays at midnight.

Those programs would have been candidates for prime time several years ago. But today American dramas and sitcoms -- though some remain popular -- increasingly occupy fringe time slots on foreign networks, industry executives say. Instead, a growing number of shows produced by local broadcasters are on the air at the best times.

"Whereas American TV shows used to occupy prime-time slots, they are now more typically on cable, or airing in late-night or weekend slots," said Michael Grindon, president of Sony Pictures Television International.

The shift counters a longstanding assumption that TV shows produced in the United States would continue to overshadow locally produced shows from Singapore to Sicily. The changes are coming at a time when the influence of the United States on international affairs has chafed friends and foes alike, and some people are expressing relief that at least on television American culture is no longer quite the force it once was.

"There has always been a concern that the image of the world would be shaped too much by American culture," said Dr. Jo Groebel, director general of the European Institute for the Media, a nonprofit group.

The American studios priced themselves out of the market just as competition began to heat up abroad from newly privatized commercial broadcasters and upstart cable and satellite networks, industry executives say. Given the choice, they add, foreign viewers often prefer homegrown shows that better reflect local tastes, cultures and historical events. A recent example is "The Tunnel," a miniseries about escapees from East to West Germany, which was the eighth most popular show in Germany last year.

Unlike in the United States, commercial broadcasting in most regions of the world — including Asia, Europe and to a lesser extent Latin America, which has a long history of commercial TV — is a relatively recent development.

A majority of broadcasters in many countries were either state-owned or state-subsidized for much of the last century. Governments began to relax their control in the 1980's by privatizing national broadcasters and granting licenses to dozens of new commercial networks. The rise of cable and satellite pay television increased the spectrum of channels.

Relatively inexperienced and often financed on a shoestring, these new commercial stations needed hours of programming — fast. The cheapest and easiest way to fill air time was to buy shows from American studios, and the bidding wars for popular shows like "Dallas" or "Twin Peaks" were fierce.

The big American studios took advantage of that demand by raising prices and forcing foreign broadcasters to buy less-popular programs if they wanted access to the best-selling shows and movies.

"The studios priced themselves out of prime time," said Harry Evans Sloan, chairman of SBS Broadcasting, a Pan-European broadcaster. Mr. Sloan estimates that over the last decade, the price of American programs has increased fivefold even as the international ratings for these shows have declined. "You cannot win a prime-time slot with an American show anymore," he said.

In general, shows are priced by ratings. A foreign station would pay less for an American show that was shown at an off-peak time.

At the same time, politicians, concerned about the cultural influence of the United States, set quotas on American content. In one example, Dr. Groebel of the media institute said, French officials became alarmed when an increasing number of adolescents appearing in court addressed the judge as "your honor," a term gleaned from American detective shows.

But television executives point out that some American shows, like "The Shield" and "Sex and the City," still attract a large number of foreign viewers. And some still generate huge bidding wars. Channel 4 in England was recently reported to have agreed to pay $1.5 million an episode for "The Simpsons." Over all, they said, foreign demand for American shows has actually increased as the number of channels, including cable and satellite, has grown.

A worldwide economic boom has brought foreign broadcasters more advertising revenue, which they have invested in local programming. Initially, many shows emulated successful American formats. In Germany, for instance, a long-running hit called "Das Traumschiff," or the "Dream Ship," is a remake of the American hit "Love Boat." But increasingly, homegrown programs mined historical events that resonated with their audience or added local twists to popular myths.

According to a survey by the European Audiovisual Observatory, the highest ranking show in Italy last year was "Uno Bianca," a dramatization based on a crime gang. No. 1 in France was "Julie Lescaut," a long-running detective series.

First-run domestic fiction programs in the five largest European Union countries — Germany, Britain, Italy, Spain and France — increased 5.7 percent in 2001 and have grown 43 percent since 1996, the European Audiovisual Observatory recently reported.

That pattern has played out in many countries around the world. A 2001 survey by Nielsen Media Research found that 71 percent of the top 10 programs in 60 countries were locally produced in 2001, representing a steady increase over previous years. American movies on television still drew big ratings, grabbing 9 percent of the top 10 slots, but American dramatic or comedic series typically rated much lower than local shows.

In South Korea, for instance, the top-rated show in the third week of last September was "The Era of the Abandoned Hero," a locally produced soap opera that attracted 22.7 percent of the population. By contrast, the highest-rated nonlocal show, "C.S.I.," drew just 2.7 percent of all Koreans tuning in that week.

American shows, which are usually dubbed, fared even worse elsewhere in Asia, where they took a back seat to programming from Britain and China. In Malaysia, the highest-rated nonlocal show for the same week in September was "Mr. Bean," a British comedic series, and in Indonesia there was the Chinese movie "Crouching Tiger, Hidden Dragon."

One exception is Japan, which has historically shown little American programming but is now giving prime-time slots to some shows. TV Asahi, for instance, is running the former Fox Network show "Dark Angel" on Mondays at 8 p.m. And in Latin America, where there has always been a more vibrant commercial broadcasting industry, networks have tended to devote more time to local programming, mainly to soap operas called telenovelas.

Some foreign producers have even turned the tables on American studios by pioneering new formats, like reality television, that they exported to the United States. John de Mol, chief executive of Endemol, a Dutch company that produced the original "Big Brother" and now licenses the show to broadcasters around the world, including CBS, said that American studios had initially overlooked the reality format. "They were playing it safe," he said.

The change has important implications for the future of television financing, analysts who follow the industry said.

American broadcasters are still the biggest buyers of American-made television shows, accounting for 90 percent of the $25 billion in 2001 sales, according to Wilkofsky Gruen Associates, a consulting firm. But international sales, which totaled $2.5 billion last year, often make the difference between a profit and a loss on a show, executives said.

As the pace of foreign sales slows — the market is now growing at 5 percent a year, down from the double-digit growth of the 1990's — studio executives are rethinking production costs. Sony, for instance, has cut its production schedule by two-thirds, Mr. Grindon said.

Some studios, like Sony, are countering the trend by opening production centers abroad to better create shows tailored to local tastes.

"Mein Leben und Ich," a German show produced by Sony that translates as "Me and My Life," about the angst of a teenage girl, is shown on Friday evenings at 9:15 and is first in its time slot. "A Rich and Famous Governor," a Sony production about a kindhearted but bumbling government official, has just been approved for broadcast in Hong Kong and China.

And at least in Britain, American media companies may soon play a larger role. Legislation that is expected to become law later this year would relax restrictions on foreign ownership and pave the way for American takeovers of British broadcasters.

Still, the changes are humbling for American studios used to calling the shots abroad. "The worldwide television market is growing," said David Hulbert, president of Walt Disney Television International, "but America's place in it is declining."

 

Sehr interessanter Artikel ...

And at least in Britain, American media companies may soon play a larger role. Legislation that is expected to become law later this year would relax restrictions on foreign ownership and pave the way for American takeovers of British broadcasters.

Man kann nur hoffen, dass das auf England beschränkt bleibt.

 

1995 ... Löhne (Westfalen) ... ein kleiner Pub in der Nähe des Bahnhofs ...

10 Engländer (Schotten) saßen dort und ein paar Ossies (4 Ex-DDR-Bürger und 3 Ostfriesen breites_ ) ... auf einmal wurde das englische Fernsehen SKY angesprochen, was die Schotten nicht nur total überteuert fanden, sondern auch - und ich zitiere wörtlich - "unausstehlich". Grund: Der Dialekt der Amerikanischen Filme wird in England nicht begrüßt. Man spricht in den Filmen kein Oxford-Englisch, was aber für Engländer wichtig ist, da sie sonst - genau wie wir - kaum was verstehen.
Vergleichen könnte man das mit Sächsisch und Ostfriesisch. Wenn da der eine nicht hochdeutsch spricht, kommt der andere nicht mit.

Soll heißen, dass nicht alle Engländer diese Amerikanisierung mögen.

 

..wobei diese Einstellung wohl die einer Minderheit ist. Anders ist die überaus große Beliebtheit von Serien wie Friends, ER, CSI, Frasier, 24 u.v.a. kaum zu erklären. Wenn es "Verständnisschwierigkeiten" gäbe wäre das sicher anders.
Wenn US-Produktionen abgelehnt werden, hat das weniger mit der Sprache zu tun (Briten, Engländer, Schotten, Waliser sind durchaus in der Lage andere "Zungenschläge" als Oxford-Englisch zu verstehen. Das wird übrigens eh von den Wenigsten gesprochen), als mit der Wiedererkennbarkeit der eigenen Kultur und des eigenen Lebensumfeldes.
Fakt ist, wie bei uns auch, dass die besten Einschaltquoten mit Eigenproduktionen eingefahren werden. Die große Flut an US-Ware findet man nur auf den Digitalkanälen. Interessant ist der Weg, den FIVE (die 5. brit. TV-Kette) geht: ein Mix aus Eigenproduktionen und guten US-Dramaserien. Die Einschaltquoten haben sich in den letzten 2 Jahren in etwa verdoppelt. Also ist das Konzept ausgesprochen erfolgreich.

BTW: Schotten sind keine Engländer. Die werden ziemlich sauer, wenn man sie so nennt. Das ist in etwa so als würde man jeden Deutschen als Schwaben bezeichnen winken .

Bei uns gab es solche Beschränkungen meines Wissens nie. Theoretisch könnte z.B. Disney jederzeit hingehen und RTL kaufen...vorausgesetzt sie hätten dazu genügend Geld.

<small>[ 26. Januar 2003, 20:07: Beitrag editiert von: Tom123 ]</small>

 

Wobei solche Beschränkungen durchaus sinnvoll sein können. Btw. In den USA ist es doch meines Wissens so das eine ausländiche Firma nie die Mehrheit an einer US-Firma erwerben kann.