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?

Fifteen years ago, if you'd mentioned to a colleague that you'd spent Saturday night glued to a subtitled European drama, you'd have been quietly declared pretentious, dull and, possibly, a little odd.Skip to today and 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?

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

There may be something else in foreign TV's new popularity, too. It may sound prosaic but when we're frequently distracted from our TV viewing by Twitter feeds and a pinging WhatsApp, subtitles are a welcome enforcement for us to focus. "When you read subtitles, you have to be glued to the screen," says Deeks. "That concentration gives a particular intensity to the viewing experience. You just can't multitask when you're watching a foreign-language drama."

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

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?

January 2016 saw the UK premiere of the series on mainstream Channel 4, and with this came foreign drama and television expert Walter Iuzzolino’s streaming service Walter Presents. Perhaps the most successful broadcast of the show to date, Channel 4 saw viewing figures reach 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.

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?

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? 



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 uses social media to engage audiences in new international TV dramas in a number of ways. He creates curated playlists of the shows he recommends on his @WalterFilms Twitter account, and has built a strong following of viewers who look forward to his picks. He also provides exclusive behind-the-scenes content on his Instagram account, which he uses to tease new shows and give viewers an insight into the production process.

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 services such as Netflix and Amazon Prime have changed the way TV drama narratives are constructed by allowing for long-form stories and complex characters. Instead of episodic storytelling, where each episode stands on its own, these services have allowed writers to build stories over an entire season. Characters can be developed more deeply, and storylines can be more intricate, as viewers are free to watch the story unfold at their own pace.

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

Nicola Shindler, who runs the independent company Red, producer of Happy Valley and Last Tango in Halifax, and is currently working on shows for both the BBC and Netflix, says: “Your form of storytelling has to reflect the fact that people could watch [the whole series] straight away. So the hooks at the end of every episode are very important. But you also have to think about how you give information.

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

Chapter lengths that stay close to the half-hour or hour of traditional scheduled television. This, it turns out, results not from creative conservatism but – as with Greene’s rationed narratives – from the economics of production. Shindler explains to me that dramas – regardless of how they will ultimately be screened – are usually shot in blocks. In order 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 theoretically need not be divided at all, it still 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 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. Stories about alleged outrage over incomprehensible actors or violent action often turn out to be based on the fact that, from among millions of viewers, a tiny handful tweeted disagreeably.

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 argues that the creative industries have undergone a profound transformation since the 1980s. He argues that the creative industries have become increasingly commercialized, with the emergence of large media conglomerates, the growth of intellectual property rights, and the increased commodification of cultural products.

2) What is technological convergence? 

Technological convergence is the merging of different technologies into one unified device or system. This usually involves a combination of different components, such as computers, phones, cameras, and other technologies, that are all connected and work together to provide users with a more streamlined experience.

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

Technology companies are challenging traditional broadcasters in the TV industry by creating their own streaming services, such as Netflix, Hulu, and Amazon Prime. These services allow users to access a variety of content, including movies, TV shows, and original programming, without the need to pay for a costly cable or satellite subscription. This is providing users with an alternative to traditional broadcasters and giving them more control over their viewing experience.

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?