FEATURES
FORMATS: A country-by-country genre breakdown for Asia
03 October 2019
Scripted formats are at an all time high in Asia as streaming/online platforms fast-track premium content output. Aqilah Yunus tracks leaders and laggards across the region.
Despite tight regulations and censorship, China was Asia’s biggest buyer for scripted formats in the first half of this year. ContentAsia’s Formats Outlook research for the first half of 2019 shows China topping the drama charts with 13 titles (57% of the country’s total 23 format acquisitions), including all3media’s Miss Fisher’s Murder Mysteries, BBC Studios’ Life on Mars, Endemol Shine Group’s Younger, Fuji TV’s The Hours of My Life and ITV’s Jekyll and Hyde.
India is not far behind, running second with 10 drama titles, making up 38% of the country’s total formats. The drama formats on air or commissioned in India in the first half of this year include Armoza Formats’ Hostages by indie production house Applause Entertainment for the Disney-owned streaming platform Hotstar; BBC Studios’ The Office, also by Applause for Hotstar; and Keshet’s Baker and The Beauty, produced in Telugu by Annapurna Studios for PCCW Media’s streaming platform Viu India; and The Stylist in Hindi by Rose Audio Visuals with Goldie Behl as showrunner.
Of the 14 countries included in our analysis for Mipcom 2019, Korea takes the third spot with scripted making up 90% of the country’s formats on air or commissioned. The other 10% went to reality formats.
Drama formats showed up in nine out of 14 countries in the first half of this year. Countries with zero impact on the scripted formats scene are Cambodia, Mongolia, Myanmar and Sri Lanka, all of which are at the lowest end of drama spend in the region. Singapore, another small but wealthy market which punches above its weight in drama, is also focused on co-development of original drama rather than adaptations.
Regional participation in the scripted space rises in the second half of this year with the entry of PCCW Media’s Viu streaming platforms on titles such as The Bridge and Pretty Little Liars.
Out of Japan’s seven formats sold around the region, 71% were drama. In Malaysia, drama makes 40% of the country total of five formats. Thailand and Vietnam tie for fifth place (three titles each) and Indonesia and Philippines tied at the seventh place (one scripted title each).
Thailand was still Asia’s largest format...
Scripted formats are at an all time high in Asia as streaming/online platforms fast-track premium content output. Aqilah Yunus tracks leaders and laggards across the region.
Despite tight regulations and censorship, China was Asia’s biggest buyer for scripted formats in the first half of this year. ContentAsia’s Formats Outlook research for the first half of 2019 shows China topping the drama charts with 13 titles (57% of the country’s total 23 format acquisitions), including all3media’s Miss Fisher’s Murder Mysteries, BBC Studios’ Life on Mars, Endemol Shine Group’s Younger, Fuji TV’s The Hours of My Life and ITV’s Jekyll and Hyde.
India is not far behind, running second with 10 drama titles, making up 38% of the country’s total formats. The drama formats on air or commissioned in India in the first half of this year include Armoza Formats’ Hostages by indie production house Applause Entertainment for the Disney-owned streaming platform Hotstar; BBC Studios’ The Office, also by Applause for Hotstar; and Keshet’s Baker and The Beauty, produced in Telugu by Annapurna Studios for PCCW Media’s streaming platform Viu India; and The Stylist in Hindi by Rose Audio Visuals with Goldie Behl as showrunner.
Of the 14 countries included in our analysis for Mipcom 2019, Korea takes the third spot with scripted making up 90% of the country’s formats on air or commissioned. The other 10% went to reality formats.
Drama formats showed up in nine out of 14 countries in the first half of this year. Countries with zero impact on the scripted formats scene are Cambodia, Mongolia, Myanmar and Sri Lanka, all of which are at the lowest end of drama spend in the region. Singapore, another small but wealthy market which punches above its weight in drama, is also focused on co-development of original drama rather than adaptations.
Regional participation in the scripted space rises in the second half of this year with the entry of PCCW Media’s Viu streaming platforms on titles such as The Bridge and Pretty Little Liars.
Out of Japan’s seven formats sold around the region, 71% were drama. In Malaysia, drama makes 40% of the country total of five formats. Thailand and Vietnam tie for fifth place (three titles each) and Indonesia and Philippines tied at the seventh place (one scripted title each).
Thailand was still Asia’s largest formats market by volume in the first half of 2019 compared to 2018. But, with a strong domestic drama tradition, the country has not taken to formats in the way other markets have. 7% of Thailand’s total 45 formats were scripted. In Vietnam, drama titles made up 8% of the total 37 formats. Our latest data shows a decline in the number of formats on air/commissioned from 285 titles in 2017 to 224 titles in 2019.
Published in ContentAsia Issue Five 2019, 3 October 2019
Previous
Next
