The international distribution and circulation of audio-visual content is one of the most relevant in recent debates in media and television studies. This area has been the subject of much previous scholarship, particularly in terms of the relevance of TV formats, their centrality for the medium and its economy, and different practices of adaptation and “localization”. However, much less attention has been devoted to so-called “ready-made content” (or “finished content”) and its circulation among different countries and markets. “Canned” programming is typically the output of a specific national TV and media system, but it spills across borders when licensed into different territories, sometimes even globally. This special issue of VIEW focuses on the international circulation and distribution of ready-made content, in the form of scripted products.
Co-edited by Damiano Garofalo, Dom Holdaway and Massimo Scaglioni

Damiano Garofalo; Dom Holdaway; Massimo Scaglioni:

Canned Television Going Global - The Transnational Circulation of Ready-Made Content in Television

S. 1-4


Marta Perrotta:

Master of Photography: Investigating Transnational Creative Exchanges in the Production of a Ready-Made Talent Show

S. 5-20

Lisa Lin:

Beyond Canned Television: BBC Earth’s Global Community Building and Coproduction Adventure in the Case of Tencent Video

S. 21-34

Elena Prati:

From the West to the Kremlin and Back. Development Paths of Foreign Products on Russian Television

S. 35-42

Paul Torre:

Transnational Television Distribution and Co-Production Challenges: A KirchMedia and Sony Pictures Television Case Study

S. 43-61

Eleni Pothou:

Why so Successful? An Audience Research on the Turkish TV Series in Greece

S. 62-78


Tim Raats; Catalina Iordache:

From Nordic Noir to Belgian Bright? Shifting TV Drama Production and Distribution in Small Markets: The Case of Flanders

S. 79-92

Deniz Zorlu:

Canned Adaptations and International Success of Turkish TV

S. 93-103

Kenneth Longden:

The Curated TV Experience with ‘Value Added’: Walter Presents, Canned TV, Curation, and Post-production Culture

S. 104-118

Luca Barra; Paola Brembilla; Linda Rossato; Lucio Spaziante:

“Lip-Sync for Your Life” (Abroad). The Distribution, Adaptation and Circulation of RUPAUL’S DRAG RACE in Italy

S. 119-133

Bridget Kies:

A Vicious Viewership: Transatlantic Television Audiences and LGBTQ Identities

S. 134-145

Stefania Antonioni; Chiara Checcaglini:

From ‚Parenthood’ to ‚Tutto può succedere‘: Ready-Made Elements and Cultural Translation

S. 146-157

Florian Krauß:

When German Series Go Global: Industry Discourse on the Period Drama DEUTSCHLAND and its Transnational Circulation

S. 158-169