Television Industry Contexts: Blog Tasks :)

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

Read the Independent feature on foreign-language dramas

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

The article suggests that the traditional audience for foreign-language subtitled media were people who were pretentious, dull and odd but these days, foreign-language dramas have become fully mainstream 

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

Walter Iuzzolino suggests that the key appeal of his 'Walter Presents' shows is the actual material of the shows. Foreign-language dramas were mostly for small, dedicated communities while now they are populist and successful. The shift in audience behaviours in becoming more accepting has definitely played a part in this and Walter Presents features shows that aren't so niche that international audiences won't be able to understand or enjoy the shows 

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

The article claims that the popularity of subtitles in the multi-screen age is due to how frequently we are distracted from TV viewing due to notifications from social media. Due to all these distractions, subtitles act as a good way to force us to focus as that's the only way you can understand what's going on. With this in mind, it could be said that we can be more invested in foreign-language dramas as we are paying a lot more attention to them than native dramas 

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

One of the audience pleasures of foreign TV drama suggested by the article is surveillance. Iuzzolino states, "If you see something amazing set in Argentina, then Argentina itself is one of the biggest appeals". This suggests that the representation of Argentina that we see in the foreign-language TV dramas is so realistic that audiences can actually learn what Argentina is like through the show. There is also the audience pleasure of personal identity as despite the language barrier, "all human stories are about love, betrayal, life, death, violence, politics: the themes are universal" meaning that we as an audience can still relate to it 

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

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

The article tells us that Deutschland 83's release schedule started off by being premiered on AMC Network's Sundance TV in June 2015. This made Deutschland 83 the first German-language TV series to premiere on a US network. Interestingly enough, despite being a German drama it was only broadcast in Germany five months after the US on Germany's commercial RTL channel. This signifies the series' global appeal before the show even premiered 

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 first episode of Deutschland 83 garnered 3.19 million views in Germany which dropped to 1.63 million by the last episode. Channel 4's viewing figures for Deutschland 83 reached a peak of 2.13 million viewers in a prime time TV slot, earning it the title of the UK's highest-rated foreign drama 

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 who announced in October that there would 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?

Walter Iuzzolino posts a 'Weekend Pick' on his Facebook page and engages with viewers on Twitter to gain the attraction of audiences in new foreign TV dramas. Iuzzolino suggests that this has changed the reception of foreign productions in the UK from once being something 'relegated to the elite' and the art-house to something for everyone to enjoy 

The Guardian: How tech is changing television

Read this Guardian feature on how tech is changing television

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

Streaming services such as Netflix and Amazon Prime have changed the way TV drama narratives are constructed to reflect that people could watch the whole series straight away. As a result, cliffhangers are of utmost importance at the end of each episode to ensure that audiences will be encouraged to watch the next episode 

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

The rise in streaming has led to more complex storylines and an increase in cliffhangers as audiences are now able to go back to episodes if they have missed an important detail that contributes to a complex narrative. Creators can now make their stories as complex as they want as they will expect audiences to go back to anything that might have confused them, additionally the rise in social media also means that audiences can ask other audiences for help in understanding some shows 

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

The 'economics of production' have kept TV drama largely sticking to the 45- or 60-minute episode format as dramas are usually shot in blocks despite being screened in episodes. This maximises the use of time and minimises the cost of actors and crew while part of a drama is filming. The dividing of dramas 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 changed the production and consumption of TV drama as audiences can now live-tweet their criticisms or praises of a series. This means that it is easier for audiences to determine which shows are good and which are a waste of time, while for producers they can identify the trends in what audiences enjoy which can help to guide them when producing a new series 

Media Magazine: Netflix and the Cultural Industries 

 Netflix and the Cultural Industries (MM63 - page 45)

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

David Hesmondhalgh argues that since the 1980s there has been a significant shift in cultural production. A few of Hesmondhalgh's main points are: the cultural industries have moved closer to the centre of economic action, there has been an increase in media corporations owning companies in different sectors of the industry, globalisation has meant media texts can now circulate more easily across borders reducing North American dominance, digitisation has allowed the technology sector to compete directly with traditional media companies 

2) What is technological convergence? 

Technological convergence is when two or more independent technologies can be accessed on one device- 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?

Technology companies are challenging traditional broadcasters in the TV industry through digitisation- technology companies 'liberated' television programmes from broadcasters' schedules with on-demand viewing. Traditional media, television and print in particular have had to contend with declining audiences and advertising revenues. As the internet was created with taxpayer's money technology companies haven't had to invest vast amounts of money in a distribution network. Using the internet as a platform means that the whole of the wired world is able to access content 

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?

The global nature of modern television means producers are having to consider international audiences when creating content. The article explains this with an example of Netflix's Stranger Things that had a monster called 'Demogorgon' after a Dungeons & Dragons demon prince. To ensure that connection transcended language barriers, Netflix's team dug into old D&D materials to determine how various countries translated 'Demogorgon' in the mid-1970s. Consequently, the Demogorgon was renamed in some parts of the world based on what the demon prince of Dungeons & Dragons was called