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?

The pretentious upper classes

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

It's a "unique proposition" and it's diversity is one of it's key appeals

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

"When you read subtitles you have to be glued to the screen .... concentration gives a particular intensity to the viewing experience. You just can't multi-task when watching a foreign language drama." - suggesting that it takes people with interest and dedication to the show to watch or binge it

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

The fact that through these shows we are able to be in different places/countries instantaneously, we are able to live vicariously through these characters. 

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?

It premiered on AMC Networks Sundance TV in June of 2015, it then also premiered on the UK’s Channel 4 January 2016

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 viewing figures: 

1st ep - 3.9 mil

Last ep -1.63 mil

Channel 4 viewing figures: 

Peaked at 2.13 mil 

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

Sundance TV and FreMantle Media announced in October that there will be a second season of the show 

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 a “Weekend pick” on his Facebook and engaged with viewers on twitter, opening the world of new international dramas to those who may even be disinterested or unwilling. As Walter says art house or subtitled cinema is normally “relegated to the elite” , his streaming service has certainly changed this perception. 

The Guardian: How Britain's TV industry is struggling in the streaming era

Read this Guardian feature on how Britain's TV industry - particularly public service broadcasters - are struggling to keep up with the American streaming giants. Answer the following questions: 

1) What is happening to UK public service broadcasters like the BBC and Channel 4 when it comes to TV drama? 

They are shelving premium TV projects due to lack of funding, as they're being priced out by these global streaming services

2) Look at the middle of the article where global budgets are discussed. What was the peak of the global premium TV streaming market and what has it dropped to in recent years? 

The premium TV streaming market plunged by a quarter last year to £598m

3) What are the typical production costs per hour of high-end TV production? Why does this create a challenge for Britain's public service broadcasters? 

High end TV production costs more than 1m to make an hour, something that these public service broadcasters cannot afford to keep up with the insane amounts of money that streaming services spend.

 

4) Look at the end of the article. Why is there still an optimism about the British TV industry?

If PSB's partnered with these streaming services they would be able to make up for the money lost with those others shows that they couldn't follow through on. It would change the TV landscape forever. 

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?

During the 1980's, with the digitisation of the media - everything was now accessible on computers. Giving tech companies the go ahead to directly compete with already established media companies, and therefore even becoming media companies. 

2) What is technological convergence? 

The merging of distinct technologies to create a new entity, often a device or system. 

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

They are able to produce their own content, they don't follow the rules when it comes to regulating their platforms ie. Google's Youtube is allowed to post extremist content but if traditional broadcasters aired similar content they would be fined or possibly even lose their license.

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?

 If we take Netflix's Stranger Things and the monster in Dungeons and Dragons - named by the kids, the ‘Demogorgon’ - to ensure audiences globally connected with the show Netflix's team dug in old DVD archives to see how different languages and cultures translated ‘Demogorgon’