Television industry contexts

Independent: British viewers can't get enough of foreign-language dramas

Read this Independent feature on foreign-language dramas. If the website is blocked or forcing you to register you can access the text of the article here. It features an in-depth interview with Walter Iuzzolino who curates Channel 4's Walter Presents programming. Answer the questions below:

1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?

It suggests that if you'd watch a 'European drama' that 'you'd have been quietly declared pretentious, dull and, possibly, a little odd.'

2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?

He says: "If you see something amazing set in Argentina, then Argentina itself, the houses, the people, what they wear, what their voices sound like, the language, is one of the biggest appeals. There is a huge pleasure in that." He is basically saying that the language of his shows is one of the biggest appeals that audiences seem to enjoy.

3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?

It suggests that when you are reading subtitles, you have to be glued to the screen. It also suggests that you can't multitask when watching a foreign language show otherwise you may miss key events that are happening.

4) What are the other audiences pleasures of foreign TV drama suggested by the article?

Another audiences pleasure can be surveillance where people can learn other languages by watching foreign tv dramas.     

Film School Rejects: The foreign TV dramas you're missing out on

Now read this Film School Rejects feature on the foreign TV dramas you're missing out on. This contains some particularly useful background on Deutschland 83's reception internationally. If the website is blocked, you can access the article text here. Answer the following questions:

1) What does the article tell us about Deutschland 83's release schedule?

Premiering on AMC Network’s Sundance TV in June 2015, the show was the first German-language TV series to premiere on a US network.

2) The article contains important statistics on viewing figures in different countries. What were the German viewing figures for the first and last episode? What were Channel's 4's viewing figures for Deutschland 83?

The German premiere had 3.19 million viewers and each new episode saw that figure drop, and by the series’ conclusion the figures had fallen down to 1.63 million. Channel 4 saw viewing figures reach a peak of 2.13 million viewers

3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?

The two distribution companies were SundanceTV and FremantleMedia and in October they announced that there will be a second series of Deutschland 83 called Deutschland 86.

4) How does Walter Iuzzolino use social media to engage audiences in new international TV dramas? How does he suggest this has changed the reception of foreign productions in the UK?

The UK aired the show on a well-known channel during prime time television, along with plenty of idents and trailers promoting the German thriller. By bringing Walter Presents with it, it was not just Deutschland 83 that the UK audiences were being introduced to, but foreign drama as a whole. This was creating awareness of more foreign dramas.

The Guardian: How tech is changing television

Read this Guardian feature on how tech is changing television. This has some particularly useful aspects from an industry perspective - how TV is made, the different formats of TV drama and more. Answer the following questions:

1) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?

Streaming services such as Prime are also working on “choose your own adventure” shows where the audience may be able to choose what happens. Such developments remain at the far edge of thinking, but are merely an example of how radically digital technology is changing storytelling.

2) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?

An increase in cliffhangers is used to lure the audience back next week so that they will continue watching the show.

3) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?

The economies of production means that tv dramas are shot in blocks. In order to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is filming, another team is prepping the next section. So, while a streamed drama theoretically need not be divided at all, it still makes logistical and financial sense to hire on episode basis.

4) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?

Permanent 24/7 connectivity has radically altered viewer responses. Live-tweeting by audiences has usefully democratized criticism, but the downside of this new media interaction has been in giving the old media a stick with which to beat broadcasters.

Media Magazine: Netflix and the Cultural Industries

Finally, go to our Media Magazine archive and read the article on Netflix and the Cultural Industries (MM63 - page 45). Answer the following questions:

1) What does David Hesmondhalgh argue with regards to how the creative industries have changed since the 1980s?

He states that since the 1980s there’s been a significant shift in cultural production.

2) What is technological convergence?

It is the digitisation of media meant every media form could be accessed on computers.

3) How are technology companies challenging traditional broadcasters in the TV industry?

Digitisation, and the ability to distribute texts via the Internet, meant that technology companies could challenge traditional broadcasters. For example, Amazon is now producing its own ‘television’ programmes.

4) The global nature of modern television means producers are having to consider international audiences when creating content. What example from Netflix does the article use to explain this?

In 2016 Netflix simultaneously launched its service in 130 new countries, bringing its total to 190, and Amazon opened in 200. Going global means they have to pay for the license to broadcast individual shows in different countries so another advantage of creating their own content is that Netflix or Amazon automatically own the copyright for the programmes and don’t have to purchase additional distribution permissions.