TV: Industry contexts

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 highlights how it is simply not a trend but has become fully mainstream in todays media.

2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
He talks about how foreign languages and the voices are one of the appeals and seeing the costumes and is also one of things that is pleasant to see.

3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
He says that in order to read subtitles you need to actually look at the screen in which they will also watch the show at the same time as when you read you naturally look at the letters which are placed in the middle of the bottom of the screen.

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

Audiences want to see new things that they haven't seen before, this apply to foreign TV dramas as they can see the different cultures that other countries have and the diversity they have within their cultures and community.

When Walter also lists the different countries and how he says you go on a holiday when you watch a foreign show it shows furthermore.

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?
Premiered on AMC's TV Network in june 2015 and was the first German-language speaking show on American TV.

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?
Initially, Germany had a high viewer count of 3.19 million people and then there was around 66,000 Americans who watched it, however overtime it says that the German viewer count went down to 1.63 million.

3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October? 
sundance TV and FremantleMedia had announced a second series of Deutschland: 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 posted pictures of "weekend images" on his facebook and then interacted with others on twitter.

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?
They have released more series than movies and as a result, have released the entire series in one so that viewers can "binge-watch" them.

2) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
Cliffhangers simply make the audience want to come back for more so that they can find out about what happens in the show.

3) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
they have done this so that people who want to watch the show can have a suitable and flexible time as there are many people who work.

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

"live tweeting" by audiences has "usefully democratised criticism"

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?

-Cultural industries have moved more to the economy center of action.
-Increase in media companies owning other sectors of industry
-Globalisation so texts can be more understood
-Deregulation reducing public ownership
-Digitalisation allowing technology to compete with traditional media companies
-Niche audiences more targeted.

2) What is technological convergence? 
Turning media into a format that can be accessed online or on a device.

3) How are technology companies challenging traditional broadcasters in the TV industry?
Their previous services such as Amazon selling books and Netflix physically sending DVDs to your home, over time, they have made it so that all their services are now online or accessible via a device.

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

The Example shown is a Japanese version of the "Stranger Things" poster. Another example that has not been listed, would be censorship in certain countries, such as some games having graphics scenes and some countries such as Japan, Australia and Germany censoring them.