| Ins & Outs: Israeli Trends in TV Pgming |
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Cynopsis:
International & Multicultural Edition 1/11/07
The Ins and Outs: Israeli Trends in Television Programming Importing and
Exporting
Although Israel is but a small country, the television programming
importing and exporting trends it exhibits parallel international
development and, in some instances, lead into new trends. As early
adopters of high technology on average, the Israeli consumer has driven
the television market to offer more programming from both Israeli and
global producers through pioneering means. On average, networks in
the country have seen a growth in international programming imports and
local productions while exporting has remained relatively
stagnant.By Ariana Rawls, Cynopsis: Int'l & Multicultural Edition Viewership trends show that Israeli viewers tend to watch what's known and will veer away from what's not, according to Yoav Ze'evi, Head of Acquisitions for privately-owned Jasmine TV Ltd. The Channel 2 and Channel 10 broadcasters hold the majority of the audience's attention during the evening until 10:30 pm due to news shows and mainstream series, after which viewers tend to split themselves among the niche channels. News programs are very popular in Israel. In terms of movie viewing habits on television, viewers have a tendency to enjoy repeating films, especially classics, with a tendency to tune in the middle of an airing and continue watching. Hollywood fare is the most popular with the top four genres as action, comedy, drama, and art house (foreign). As for television series, acquisition of foreign series has increased in the last few years. The more successful international series tended to be carried by broadcasters in the past but now are moving more onto cable and pay TV platforms. Of the top two broadcasters, Channel 10 only acquired one major U.S. series this year, Ugly Betty, while Channel 2 has not picked up a popular US series yet this season. Ratings show that the latter is finding more success with local reversioning and original dramas. Following Reshet's recent broadcasting licensing renewal with Channel 2 for another 10 years in 2005, the company has decided to investigate further exporting opportunities. It is currently the most popular channel in Israel with an average of 20% of the viewing audience every night. According to Michal Kizelstein, Reshet TV's Spokesperson, the network is looking into marketing developments over the next 2-3 years, most likely to European countries. Most of Reshet's programming is locally produced with original formats although about 2-3 foreign formats are reversioned annually. Channel 2 is actually split between two companies, Keshet, which airs programming Thursday through Saturday, and Reshet, which broadcasts Sunday through Wednesday. In terms of acquisitions, the Israeli market has picked up every major U.S. series that has launched. Despite the small size of the market, Israeli consumers have a large amount of television programming variety, translating into good value for the money spent on pay television. With such stiff competition to obtain programming rights, an interesting twist on who's courting who has emerged. The acquisitions frenzy by Israeli operators to gain the latest and greatest shows means the operators are chasing international distribution companies rather than the other way around. As Dorit Baum, Head of Acquisitions in HOT's Content Division, stated, Israeli companies "do not have the luxury anymore of waiting to see where the shows develop." As such, several shows that have been cancelled after several episodes in the U.S., for instance, have already been bought and are subsequently launched by networks in Israel despite their stateside failure to launch. Although the majority of Jasmine TV's series originate from the U.S., the company does carry some British and Australian fare (only English-language) on its five channels on HOT. This year, series renewals have been a large part of Jasmine TV's Extra HOT channel airing on cable operator HOT due to continued audience interest. In the general Israeli market, 24, Lost, and the CSI franchise top the most popular list with CSI and its CSI: NY and CSI: Miami as the longest running brand. Other popular programs include soaps such as The Young and The Restless with telenovelas also showing strong performances in Israel. HOT renewed its carriage agreement with the Viva and Viva Plus telenovela channels just last week. Dorit Baum mentioned that the success of Brazilian telenovelas in Israel in particular was most likely due to their high production quality. On January 7, 2007, HOT also launched a new schedule for its HOT 3 brand, which includes new series pickups such as the U.S.' General Hospital and Australia's Home and Away series, to name a few. HOT has observed an interesting trend in telenovela and series viewing. When the cable operator debuted Brazil's Shades of Sin telenovela in 2006, it noticed that ratings increased over time. With this specific show, it took one month for the ratings to peak. One of the surprising findings for the company was the power of strips here in Israel with the audience wanting a predictable daytime schedule. Michal Kizelstein has also seen a change about 5 years ago with the growth of European formats worldwide such as Strictly Dancing and American Idol. In addition, she has also seen quite a bit of American format reversioning with 1 vs. 100 from Endemol International and America Got Talent. Following these international trends, the latter's first season of its Israeli version will air this summer. Another series that has achieved success in Israel was the local version of Who Want to be a Millionaire. During the last few years that Reshet owned the format rights, it saw the show reach the number one spot. HOT, on the other hand, buys formats as finished products, mainly American fare with some English shows for its Extra HOT (HOT VOD has a niche British series channel produced by Jasmine TV Ltd.). In Israel, the most successful reality shows tend to be those that are combined with a variety "stage presence," such as singing or dancing. The competition aspect seems to reflect the Israeli tendency to watch programs with a lot of tension (such as 24). According to Michal Kizelstein, despite the high cost of production, the success of the format reversioning, local original productions, and off-screen components (i.e., Internet and mobile) even in such a small country as Israel justify the expenditures. She emphasized that in Reshet's experience, "self-developed Israeli content has been bigger than bought content." Although she states that it is good to look overseas and pick content that can work in Israel, she stated that "the future will be in developing here to maintain high ratings." More and more, the Internet and mobile components are becoming an inseparable part of Reshet's work as well, "almost at the same level of importance as what you see on television." She sees the peripheral activities contributing greatly to programming and profit in the next few years. There is also high growth in Israel regarding high quality video viewing on 3rd generation phones with increasing introduction of television content for mobile use. The three largest carriers have followed the trend by bringing in more 3rd generation phones. Other developments at HOT include the launch of a new cellular portal next month. HOT's main focus for the portal will be on original programming with short-form content from series (promos, trailers, etc.). As part of its relaunch several weeks ago, Channel 8 followed an international docudrama growth trend that has just recently emerged by infusing its newest daily slot with primetime documentaries covering health, science, and other topics. Meirav Tovim, Director/Programming for Documentaries and Factuals at Noga Communications, found that the quality of the subject is more important to Israeli viewers than the genre with Israeli productions generally being the most popular for Noga's documentary network, Channel 8. As for late night programming, the network found that edgier and sexier documentaries, acquired mainly from the U.S. and the U.K., were most watched by their audience. Noga TV is one of the few exceptions in terms of exporting programs. The company has had success with programs such as Slaves of the Sword, a 5-part documentary on the leadership of Israel throughout the years. Other shows that did quite well internationally include Checkpoints and Channels of Rage (focuses on two rappers, one Israeli and one Palestinian). A new show, Cemetery Club, will also be exported globally. Meirav Tovim found that the documentary genre, especially in Israel, is becoming less conservative and more engaging to intrigue viewers. The content side of children's programming in Israel reflects U.S. trends although adoption of new technology seems to be more embraced by parents in Israel. Noga TV broadcasts free network Children's Channel as well as pay TV channel Logi. Like many of its U.S. and international counterparts, the main programming on both channels are made up of Japanese anime, Bratz and Barbie, and more with Arthur, Japan's Naruto, and a local Israeli production, Hashminia, as the top shows. The latter mixes mystery, fun, education, and problem solving. Also following along the same programming lineup lines as other children's networks, Children's Channel fills its afternoon slot with local productions or dubbed, non-violent anime and U.S. fare followed by a primetime animated sitcom slot and nighttime uncut versions of Japanese anime. The currently comprises 54% of the children's market on HOT. According to Anat Paz Gur, Head of Acquisitions at Noga Communications, both children's channels imports a sizeable amount of Japanese, Canadian, U.S., and French shows while exporting has been minimal. The VOD market in Israel is at the cutting edge, according to Yoav Ze'evi. Due to the industry's advanced use of this technology, the country is being watched almost as a testing ground for other nation's VOD growth. Israel's viewers are a small but very attentive consumer group with a tendency to be early adaptors of new technology. Introduced in February 2005, HOT's VOD currently has one third of its subscribers gaining access to the service with current movie supply agreements in place with FOX, Disney, Universal, Dreamworks, and MGM. An interesting finding shows that the main users of the VOD service are ordering children's programming. Children's Channel has seen an interesting phenomenon in its SVOD offerings. Costing approximately $2.50 extra a month, the SVOD channel carries nearly the same programming as seen on the channel. The popularity of the channel has translated into actions such as holding launches on the SVOD service before the free Children's Channel or bringing back classic shows only on SVOD. As for more adult fare, HBO VOD channel arrival in Israel is the first time that the HBO brand has been offered as a VOD option outside of the U.S. market. With the incremental successes and growth that industry is experiencing with VOD, the country's networks are increasingly experimenting with VOD companies to enhance the more discerning Israeli consumer's options while being watched by other television and film industry players abroad. It is interesting to note HOT 3's VOD experience with the airing of its Champion soap. The show airs four times a week on HOT's regular channels but is also offered as a VOD download. In a country of 7 million people, the cable operator showed 20 million VOD downloads for the 119 episodes offered. After seeing these figures, the company decided to add another measurement. In addition to measuring the linear and VOD channels' ratings separately, HOT began to compute a combined rating. Following this new addition, HOT 3 took a daring step and decided to premiere a new show, Project Runway, on the same day on VOD in the morning and on television that evening. It will premiere three days after the show's January 16 U.S. debut. Although imported programs ultimately top the popularity contest with Israeli consumers, several of the country's networks have found great success with original productions and reversioned formats. Exporting Israeli formats has barely scratched the international surface but several television industry players have plans over the next few years to market their original fare. Evidence shows the high importing traffic and technology adoption in Israel but more growth is needed to identify and develop viable Israeli programs for export. Ariana Rawls has been a contributing editor for the daily Cynopsis: Int'l & Multicultural Edition almost since its inception. She has spent a great deal of time in Israel and posted this story after spending a few weeks there. She will be back on US soil in time for the NATPE convention January 15-19, and if you'd like to connect with her, you can email Ariana at . |
