Handbuch Unterhaltungsproduktion: Beschaffung und Produktion by Katja Lantzsch, Klaus-Dieter Altmeppen, Andreas Will

By Katja Lantzsch, Klaus-Dieter Altmeppen, Andreas Will

Das Feld der Beschaffung und Produktion von Unterhaltungsangeboten ist im Gegensatz zu Informationsangeboten bisher kaum erforscht. Der Band bietet einen strukturierten Überblick darüber, auf Grund welcher Mechanismen die Medien der Gesellschaft Unterhaltungsangebote präsentieren. Im Mittelpunkt stehen die Akteure, Marktstrukturen, Organisationsformen und Strategien in der Fernsehunterhaltungsbeschaffung und –produktion.

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Inter- 30 Klaus-Dieter Altmeppen, Katja Lantzsch und Andreas Will nationale Konzepte – Innovative Instrumente – Aktuelle Praxisbeispiele. , überarb. und erw. Aufl. Wiesbaden: 859-882. Benedict, Benjamin (2008): Industrialisierung der Fernsehproduktion in Deutschland – Geschichte und Perspektive einer standardisierten Produktionsform. In: Medien-Wirtschaft (1): 18-26. Cottle, Simon (2003): Media Organisation and Production: Mapping the Field. ): Media Organisation and Production. London/Thousand Oaks/New Delhi: 3-24.

The question is, of course, whether the organizing of entertainment – here more specifically focused on TV – displays any characteristics which make it different from other types of organizations and therefore worthwhile to study. The obvious answer is ‚yes‘. One of the most significant changes in the organizing of television production and broadcasting in Europe is the transformation from monopoly Public Service broadcasters producing all content inhouse, to an industry where the supply chain is broken down into specialized actors delivering commissioned content to both commercial and public broadcasters.

Die mächtige Position der Hauptsender in der Fernsehindustrie könnte zu einer Situation führen, in der die Produzenten überhaupt nicht mehr an den öffentliche-GüterMerkmalen ihrer Produkte verdienen. Wenn zum Beispiel Sender es schaffen, alle Übertragungs- (oder sekundäre und tertiäre) Rechte aufzukaufen, dann werden es die Sender und nicht die Produzenten sein, die von den größenbedingten Kostenvorteilen profitieren, falls solche Übertragungen an weitere Zuschauergruppen verkauft werden. Kern der Sache ist das Eigentum der Rechte: ein sehr wichtiges Thema in den kreativen Industrien (Towse 2003).

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