Television industry contexts

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?

The article suggests that 15 years ago foreign-language drams were pretentious, dull and, possibly, a little odd. In today's time, foreign-language dramas aren't even on-trend, they're fully mainstream.

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

Walter Presents has evolved to the new streaming service dedicated to foreign language TV, a partnership between Channel 4 and Global Sales Network. Walter Presents is a unique proposition.

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

As societies adapt, subtitles in foreign language television shows have become more popular, and many people are experimenting with watching them without any discrimination.

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

Some audience watch it for their own entertainment. Surveillance is another audience pleasure as it allows other people to be more educated about other people's cultures and the country that they are from. 

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?

According to the article, Deutschland 83 debuted as the first German-language TV show on a US network five months after it did in the US. This indicates the show's international appeal and suggests the potential audience for the German crime thriller.

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?

Whilst Deutschland ’83 received significantly fewer viewers in the US than Germany, with its US premiere garnering 0.066 million viewers compared to Germany’s 3.19 million, the series proved more successful in the US than its homeland. As previously mentioned, the German premiere had 3.19 million viewers. Each new episode saw that figure drop, and by the series’ conclusion the figures had fallen down to 1.63 million- 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 producers and distributors are Sundance TV and Fremantle Media. 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, while America re branded the show’s posters and promotional materials. Yet, 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. Whilst Sundance TV provides their viewers with numerous foreign dramas, the TV channel and its streaming service also ventures into English language series as well as feature-length films.

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?

Other streaming networks, including Amazon, 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 radically digital technology is changing storytelling.

2) Why has the rise in streaming led to more complex story lines and an increase in cliff hangers?

So a BBC writer has historically needed one big cliff hanger to lure the audience back next week.

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

Dramas are typically shot in blocks to improve time utilisation and decrease crew and actor costs. As one team prepares for the next scene during filming, another team works on the drama's script. This is due to production economics. Therefore, even if a streaming drama could theoretically not require division at all, hiring on an episode-by-episode basis still makes financial and logistical sense.

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 democratised 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 argues that since the 1980's there’s been a significant shift in cultural production.

2) What is technological convergence? 

Technological convergence 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 (originally an online book seller) 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.