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 if an individual watched a foreign-language film or series using subtitles they would be considered as pretentious and odd.

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

Walter suggests that the key appeal of his 'Walter Presents' shows is the idea that the shows are more likely to appeal to small and dedicated audiences as well as people who loved their intellectually complex cinema. He also states that now we see shows that are more for the mainstream audiences that are popular and not just something niche.

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

It suggests that it allows audiences to be fully submerged or focus on what they are watching as they read the subtitles. Also, due to the development of technologies and the idea of convergence, audiences can go and watch the film or series they want to watch on their free time, allowing them to catch up.

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

The audiences pleasure of foreign TV drama from the article was diversion as it states that it allows audiences to experiences and see the different settings that's used. It also allows audiences to experience escapsim and an authentic setting which also leads to surveillance as they learn different cultures. 

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 tells us about Deutschland 83's release schedule that it was first premiered on AMC Networks' Sundance Festival TV in June 2015. After five months it was released in Germany. In 2016 it was then released in the UK, mainstream 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 for the first episode was 3.19 million but gradually decreased by the end of the series, which on the last episode gained 1.63 million views. Channel 4's viewing figure for Deutschland 83 had gained much more vieweres and was able to gain 2.13 million views.

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

The two production and distribution companies behind Deutschland 83 were Sundance TV and FremantleMedia. They 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?

Walter use social media to engage audiences in new international TV dramas by using social media such as Facebook to engage with veiwers as well as in Twitter. 

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? 

BBC and Channel 4 are being priced out of Netflix due to struggles on funding high-end TV dramas which audiences prefers more in the streaming era. 

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 peak of the global premium TV streaming market was during the post-Covid times in 2022 where there were streaming wars. Where it was worth 5.1bn pounds. It had been plunged in recent years by a quarter to 598m pounds.

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? 

The typical production costs per hour was 5m pounds. This creates a challenge for Britain's PSB as significant cost increased due to soaring UK inflation.

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

There's still an optism about the British TV industry because they seem to still have high premium drama skills that the mainstream audience enjoys to watch. They also produce high quality dramas that gain international streamers.

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 closer to the centre economic action
• There has been an increase in media corporations owning companies in different sectors of the industry
• Globalisation has meant media texts can circulate more easily across borders reducing North American dominance
• Deregulation has reduced public ownership

2) What is technological convergence? 

Technological convergence means that the digitisation of media meant every media form could be accessed on computers.

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

Technology companies challenge traditional broadcasters in the TV industry by becoming media companies themselves or publishers such as Facebook.

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?

An example from Netflix is the monster from Stranger Things named as 'Demogorgon' after a Dungeons & Dragons demon prince. To ensure that connection transcended language barriers, Netflix’s team dug into old D&D materials to nail down how various cultures translated ‘Demogorgon’ in the mid-1970s. (Barrett 2017)

There is a fair amount of work here - the questions are not too challenging but there is plenty to read. Feel free to answer the questions in bullet points if you find it quicker. Remember, this reading and notetaking will prepare you brilliantly for the extended essay question in Media Paper 2 - particularly if the question focuses on industry or audience.

Due date: on Satchel One

Extension tasks

If you're particularly interested in this industry, you may want to read the following articles or take on the following tasks that go into more detail on the TV industry:

Look at this IndieWire feature on the rise of international television. If the website is blocked, you can access the text from the article here. What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?

How do changes in technology influence the creation of TV dramas such as Capital or Deutschland 83? Try and make specific references to the two TV CSPs in your answer.

The changes in technology influence the creation of TV dramas such as Capital or Deutschland 83 by transforming scheduled and geographically static TV dramas, that's only allowed in some places, to streaming in social media that allows audiences to binge-watch. This idea also allows audiences to watch on their free time without having to miss any events that happened in the drama that they are watching. In addition, applying this to Capital or Deutschland 83, these TV dramas are more likely to only be available in the UK or Germany (Deutschland 83) if technology had no influence in the creation of TV dramas. Furthermore, the creativity of some TV dramas could have came from artificial technology that could support the drama's complex narrative and story telling.