Aesthetic proximity or a transnational aesthetic? The role of stylistic elements in format localisation

In this paper ‘aesthetic proximity’ is proposed as a new layer of the concept of cultural proximity. As audiences prefer content that is culturally close to them, transnational formats get adapted to local culture and structures. Straubhaar’s cultural proximity is a multi-layered concept usually discussed in terms of geographic, linguistic and genre proximity. However, as television is essentially a visual medium, the question arises how visual program elements are of importance for the notion of proximity. Aspects of style and aesthetics, such as camera use and montage, could also be culturally bound (Hallenberger). Little research has been done on the role of stylistic elements in format localisation and on how these elements are altered (or not) during this process (Mikos & Perrotta). This is an interesting topic because the format trade is characterized by an extensive transnational exchange in knowledge and production practices, in the form of ‘flying producers’ or even directly instructing cameramen to get certain shots (Moran), potentially making all local versions look the same and attenuating localisation. Therefore, knowledge of to what extent stylistic elements are local or transnational also contributes to understanding the format as a potential bearer of transnational aesthetics. The aim of this paper is to detect this possible transnational aesthetic in format programs. This paper discusses the ways in which stylistic elements are adjusted during format localisation, in order to determine to what extent television aesthetics are culturally bound. The idea of ‘aesthetic proximity’ is examined theoretically and further explored through a comparison of the Australian adaptation (six hours) and the Dutch version (ten hours) of the British format Farmer wants a Wife, using a qualitative content analysis of visual elements. Preliminary results show that stylistic elements such as camera use and montage differ, thus supporting the notion of ‘aesthetic proximity’.