Tv: 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?

The article suggests that traditionally, foreign-language subtitled dramas, were viewed as dull and strange.

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

"What filtered in before was mostly for a small, dedicated community of people who loved their intellectually complex cinema. Now we see shows that are populist and successful; we're tasting what people like us love in other countries, not something niche.

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

Due to being frequently distracted, from our TV viewing due to other screens and devices, subtitles assist us in staying focused. According to Deeks "When you read subtitles, you have to be glued to the screen,".

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

An audience pleasures of foreign TV drama are diversion, Surveillance and Personal relationships.

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, Deutschland 83 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?

Its US premiere had 0.066 million viewers compared to Germany’s 3.19 million, the series proved
more successful in the US than its homeland. The German premiere had 3.19 million viewers. But each new episode saw that figure drop, and by the series’ conclusion the figures had fallen down to 1.63 million which was it’s lowest figure.

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

The two production and distribution companies behind Deutschland 83 are SundanceTV and FremantleMedia and in October the announced that there will be a second series of Deutschland 83.

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?

Luzzolino posted a “Weekend Pick” on his Facebook page and engaging with viewers on Twitter, making it impossible not to become engrossed in the experience. According to Iuzzolino, in the UK subtitled and foreign productions are “relegated to the elite” and the art-house. His streaming service has certainly changed this perception in Britain.

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 networks, such as Netflix or Amazon Prime, are also working on “choose your own adventure” shows. Such developments remain at the far edge of thinking, but are merely an example of how digital technology is changing the way narratives are constructed. Audiences now have more control over narrative. 

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

Cliffhangers lure the audience, enticing them enough to watch the next episode, the also use successive shocks to maintain suspense throughout the adverts.

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

Shindler notes that dramas are usually shot in sections. This is 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 does not need to be divided, it makes sense to hire on episode basis and save finances.

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

Permanent 24/7 connectivity has changed viewer responses. Live-tweeting by audiences has showcased criticism, however this new media interaction has negatively affected old media 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?

In the 1980s media companies began to see the benefit of synergy at the same time that governments in the west, because of the decline of manufacturing industries, came to appreciate the economic benefits of having a strong ‘cultural’ sector.

2) What is technological convergence?

Media technological convergence is the tendency that as technology changes, different technological system sometimes evolve toward performing similar tasks.

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

In the face of this traditional media, television have had to contend with declining audiences and advertising revenues. Using the Internet as a platform means that the whole of the wired world is able to access their content via the World Wide Web.