Television industry contexts: Blog tasks

 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 that 15 years ago if you told someone you were watching a European drama you would've been called pretentious and a bit odd.

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

It is suggested that the appeal of his shows are accurate in terms of the culture and make it feel real.

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

It suggests that when you read subtitles you are more glued to the screen.

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

Some other audience pleasures that are suggested is "the locale that is such a fundamental part of their appeal. "We all love getting that insight into a different culture," says Deeks. "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 article says that it was released in June 2015 on Sundance TV. In the UK it was released in January 2016 on Channel 4.

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 German viewing figures on the first episode was 3.19 million viewers and by the end it dropped to 1.9M. Channel 4 on the other hand had 2.13m at peak.

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

 

SundanceTV and FremantleMedia finally announced in October that there will be a second series of Deutschland 83

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 uses social media to engage audiences by posting weekend picks on his facebook page. This has changed the reception as they are building a better relationship with the audiences.

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 completely changed the way TV drama narratives are constructed as streaming services promote binge watching meaning that people will watch a whole season for instance in a go. This means that they have to structure the narrative around that.

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

This has lead to more cliffhangers as it is a way to generate hype for the next part and to have audiences talking about your show on social media.

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

"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?

"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 the creative industries have been more digitalised.

2) What is technological convergence?

"the tendency for technologies that were originally unrelated to become more closely integrated"

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

Tech companies are challenging traditional broadcasters by having their own production teams and original shows. For instance Netflix have "Netflix originals".

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 article says that Netflix pays for licences to have shows broadcasted in other countries as the internet is the most popular way to watch content which opens up the doors for people to watch content originally made for a certain country.