, KDYH EHHQ D GLHKDUG IDQ RI 86 WHOHYLVLRQ IUDQFKLVH2TQUHUNQVLQFH LWV ĺUVW VHDVRQ
UHOHDVHG QHDUO\ HLJKWHHQ \HDUV DJR ZKHQ 5LFKDUG +DWFK JUDFHG WKH EHDFKHVRI
%RUQHR FRPSOHWHO\ QDNHG 'XULQJ WKH WHOHYLVLRQ UXQ RI 1HWZRUN 7HQpV UHERRW RI
TRSQ@KH@M 2TQUHUNQ, however, I became curious as to why this local adaptation wasn’t
an enjoyable experience. Was it the casting? Was it just bad luck that most of the
contestants who were avid2TQUHUNQfans were voted out early? With, at one stage,
there being three episodes airing weekly, was it just too much of a good thing? To
DQVZHU WKHVH LQLWLDO TXHVWLRQV , WXUQ WR 'RULV %DOWUXVFKDWpV ZRUN RQ PHGLD HFRORJLHV
particularly her analysis of the localisation of/NO (CNKfor a Canadian audience.^1
TRSQ@KH@M 2TQUHUNQLV D ORFDOLVHG DGDSWDWLRQ RI WKH HSRQ\PRXV ORQJUXQQLQJ
$PHULFDQ UHDOLW\WHOHYLVLRQ IUDQFKLVH 6XFK ORFDOLVDWLRQV DUH D UHVXOW RI LQWHUQDWLRQDO
collaborations between production companies and local media ecologies, which
consist of media and cultural agents ‘linked through their use ofRODBHkB OQNCTB-
SHNM SDBGMNKNFHDRt FRSURGXFWLRQ IRUPDW IUDQFKLVLQJ DQG LQWHUDFWLYH PHGLDp^2
The Australian television industry is dominated by format producers, such as the
ORFDO VXEVLGLDULHV RI (QGHPRO 6KLQH DQG )UHPDQWOH0HGLD DQG LW LV WKURXJK WKLV
type of commercial negotiation that an international format can be adapted for
WKH}$XVWUDOLDQFXOWXUDOODQGVFDSH
CAPE, IT
ISES ARE
LD. BUT
WHAT IS GAINED AND WHAT IS LOST WHEN SUCH (RE)PROGRAMMING
IS CARRIED OUT? USING 4231 +( - 2415(5.1AS A CASE STUDY,
STUART RICHARDSINVESTIGATES THE PROCESS OF LOCALISATION IN
THE CONTEXTS OF REALITY TELEVISION, MEDIA ECOLOGIES AND THE
NOTION OF ‘QUALITY TELEVISION’.
[LW\
FOR