Television industry contexts: Blog tasks

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 the traditional audience for foreign-language subtitled media would have typically been described as 'quietly declared pretentious, dull and, possibly, a little odd.'.

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

Iuzzolino contends that the primary appeal of Walter Presents is that, in contrast to other streaming services, viewers are only exposed to foreign-language content.

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

According to him, foreign language programming on the channels was similar to "restaurants that had put a special on the board" until the mid-2000s. But you can't play it safe with the television equivalent of a cottage pie since 'Walter Presents makes the specials board the primary offering.' In simple terms, he says that his streaming service makes what was once seen to be a fairly specialised area of TV mainstream by focusing on it.

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

The article suggests that audience love getting to know different cultures and that the unfamiliar setting gives a freshness to genre pieces.

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?

The show premiered on a US network before it was released on a German 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?

3.19 million people watched the German debut; with each subsequent episode, that number decreased, and by the end of the series, just 1.63 million people watched. Viewing rates peaked at 2.13 million during a prime-time TV slot on Channel 4, making it the highest-rated foreign drama in the UK.

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

SundanceTV and FreemantleMedia announced a second season of the show, to be titled 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?

He promoted the German drama with several idents and teasers on social media and broadcast the show on a prominent channel at prime time in the UK. Because a far wider audience was intrigued and accepting of the idea of a show being in a different language, this was able to promote foreign production.

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?

The streaming services are wanting to include “choose your own adventure” where the audience might decide whether someone turns left or right in a maze showing their idea of incorporating technology into quality TV drama.

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

To lure the audience back to next weeks episodes and keep them entertained with many plot twists.

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?

Responses from viewers have drastically changed due to constant 24/7 connectivity. While audience live-tweeting has helped democratise criticism, one drawback of this new media engagement is that it has given the traditional media a weapon 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?

David Hesmondhalgh makes some compelling claims regarding the evolution of the creative industries since the 1980s. He contends that there has been a change in perspective towards a more market-driven, commercial strategy that places more of a focus on globalisation and profit. He also emphasises how important technology and digital platforms are becoming. Seeing how these modifications have impacted the creative world is intriguing.

2) What is technological convergence? 

Technological convergence is when different technologies come together and merge into a single device or platform.

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

The TV sector is undergoing change thanks to technology companies. By providing streaming services and on-demand material, they are posing a threat to established broadcasters. You may view a vast selection of TV series and films on platforms like Netflix, Amazon Prime Video, and Hulu at any time and from any location. By granting viewers more discretion over what they watch and when, they are altering the rules of the game.