This critical review will focus on the Moran article, 'The Pie and the Crust' which puts under consideration the context of widespread television program formatting.

University Degree Business and Administrative studies

Critical Review: A. Moran, Copy Cat TV: Globalisation, Program Formats and Cultural Identity, Luton University Press (1998)

This critical review will focus on the Moran article, ‘The Pie and the Crust’ which puts under consideration the context of widespread television program formatting. Hence, it would be valuable at first then to define formatting in the television sense and state that a format is simply a plan for the organization and arrangement of a specified production. This plan or format does not have to be followed rigidly, although the basic concept is usually taken and modified to suit cultural requirements. Moran sees format as “…a loose and expanding set of program possibilities” which enforces the notion that formatting is not just a simple process of licensing a format and screening the program.

Moran’s main arguments seem to fall under four main categories; economical, cultural, social and political. That is to suggest that television formatting relates to the four categories in significant ways, economically formatting occurs due to simple financing – it is a lot cheaper to buy a pre-thought up format then to develop a new idea, whilst formatting also represents a low-level risk as generally established formats are purchased which perhaps feature a history of success elsewhere. Culturally and socially, Moran’s arguments involve the licensing of formats globally and more specifically the question why do some countries “...Produce their own version of a television program such as Wheel of Fortune when other countries prefer the economical option of importing the US version?” Although this point is somewhat related to finance, it has more to do with cultural diversity and the idea that a regionalised version of a format will have greater “national appeal” as it will be suited more individually to the audience. There are also political implications of television formatting, such as choosing to modify a format instead of just importing the original version for reasons of local employment and the fact that less complaints would likely be made.

One of Moran’s early points is the difference between plagiarism and formatting and the cases that have risen. The simple difference is that a format for a program is purchased which then allows the rights for the program to follow a very similar procedure with perhaps, the same presentation and method still applying. The advantages of buying a format over plagiarising a similar version is that it is not just the procedure of the program that is being bought, it is the reputation and brand name as well as the knowledge that the format has been successful in the past ...

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Another aspect of formatting discussed by Moran is the debate over importing programs or producing a different version of the same format, which was mentioned earlier. It appears that audiences are more familiar with regionalised formats and are therefore more likely to watch them then a similar imported version, according to Moran. Although an argument against would be to cite the large number of successful American importations which are still present and in great numbers today which appear to have an unrivalled success over similar home productions, take American TV chat shows and comedy series as an example. However, it would be fair to state that there is an increasing trend towards local production in the UK as outlined in the text.

A significant point made is that when a format is licensed the developers are “allowed a good deal of flexibility so far as the choice and arrangement of elements in the adaptation is concerned,” which relates to a format being the original set of “ingredients” in a production whilst other elements of the format can be modified. What this enables is true regionalised television formatting in the sense that the

licensed format can be enhanced and altered to suit the requirements of the new audience which the previous version may not have suited. Therefore it would be reasonable to question the need to purchase a format when in some cases so much is being altered, but it is important to realise the importance of brand name, especially a brand name that could get licensed on another network to obvious advantages to the purchaser. The important point in this case is that a format is not necessarily strict, but more of a guideline in production to a format that has previously worked. It would also be fair to say then that a format can be ever-evolving due to the concept that a third party who purchased rights for a television program format could in turn, have their adaptations of the original format taken into consideration and used by others who have also purchased the same format.

Moran appears to view television program formats as a concept that acts as a basis for successful production or “a cultural technology which governs the flow of program ideas across space and time” which seems like a fairly natural progression for television production to follow in order to entertain the masses in the most efficient way on a ratio of audience numbers to cost of production. Nothing is mentioned however, of standard television production formatting or the notion that in general most television productions within the same genre follow a very similar procedure. Quiz shows follow a general quiz show format and drama shows follow a general drama show format which indicates a lack of innovation in modern television, although when a new innovator format is realised it’s success potential is guesswork although can prove hugely successful. Reality television and ‘Big brother’ would be the most relevant modern example of innovative formatting.

Max Walkington -