TV: Industry contexts

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 suggest that some people might think you're weird for liking foreign language dramas, even though they're popular now.

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

Walter luzzolino suggest that the key appeal is that he has partnerships with other tv shows such as Channel 4 and global sales network.

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

As time goes on more people are getting comfortable watching shows with subtitles as society is changing and being more open.

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

Other audiences pleasure could be to learn other languages while watching the TV show.

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?

Premiering on AMC Network’s Sundance TV in June 2015, the show was the first German-language TV series to premiere on a US network. The fact Germany’s commercial RTL channel received Deutschland ’83 five months after the US both signifies the series’ global appeal as well as foreshadows where the German crime thriller was (and is) to find its audience.

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?

With its US premiere garnering 0.066 million viewers compared to Germany’s 3.19 million, , the 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? 

Sundance TV and Fremantle Media.

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 used social media as well as streaming service is dedicated solely to foreign drama. Having launched successfully in the UK via Channel 4’s online streaming service All 4,

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 changes as they  have allowed the audience to decide what happens next as they have combined technology with the quality of TV drama, as they have added "choose your own adventure".

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

This is becaue it will keep the audience engaged and wanting to find out what happens next quick.

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

It will save time and money as they are all being planned in parts.

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

It has changesd the way viewers react as they can give there opinions and comment their critisism.

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?

That there has been a shift it the cultural production.

2) What is technological convergence? 

Technological convergence is a term that describes bringing previously unrelated technologies together, often in a single device.

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

Audience All Over the Place: In the past, they had limited options for TV and radio channels. But now, with so many digital platforms out there, audiences are scattered all over the place. It's a challenge for broadcasters to adapt to changing viewer habits and figure out how to engage with them across multiple platforms.

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?

In 2016 Netflix simultaneously launched its service in 130 new countries.This means that the have to pay an amount to broadcast on TV in different countries.