Television industry contexts: Blog tasks

 Independent: British viewers can't get enough of foreign-language dramas

1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?

The article suggests that if you had mentioned to a colleague that you were watching a European drama you would have been quietly declared pretentious, dull ect suggesting that the traditional audience for European dramas would be Europeans.

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

To luzzolino he was extremely fascinated with the buzz around foreign TV which is why he spent over 3,500 hours of small-screen action watching shows. This reveals that the key appeal would be his expertise and experience as he would know what makes the best European show.

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

The article suggests that by reading subtitles we become glued to the screen which creates a sense of intensity to the viewing experience, the interesting claim is that we do this on purpose because we love getting insight into a different culture.

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

One audience pleasure is that we enjoy absorbing knowledge from other cultures and seeing how other cultures live and eat ect. Another audience pleasure would be surveillance and personal identity.

Film School Rejects: The foreign TV dramas you're missing out on


1) What does the article tell us about Deutschland 83's release schedule?

The article reveals that Deutschland was released on Germany's commercial RTL channel 5 months after it was received by the US which suggests that the show had a global appeal and was not locked in to its place of origin but also that the release schedule is spaced out in order to find an audience which likes the show.

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?

Germans first view figures was around 3.19 million and its last figure at 1.63 million while Channel 4 had a peak viewing of 2.13 million.

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 where SundanceTV and FremantleMedia announced that there will be a second series of Deutschland 83 due to its popularity. This is only because globally such as in the UK and the USA it received high viewing which is the main reason of its renewal.

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 engages with his audience posting regularly for example he posted a "Weekend Pick" on his Facebook page. This has changed the reception of foreign productions in the US as for american audiences he presents what is readily available rather than filling in the gap.

The Guardian: How tech is changing television


1) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?

Streaming services such as netlifx and amazon prime allow users to "choose your own adventure" shows meaning they are able to construct the TV drama narrative in any way that they please.

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

The rise in streaming has meant that audiences are now able to stream whenever they please therefore they may not want to come back to a show therefore by having suspense built up through cliffhangers and complex storylines the viewer will more likely be able to come back.

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

TV dramas regardless of how they will be screened are always shot in blocks in order to maximise the use time, this also helps to reduce the cost of actors and crew as time is not wasted. It also aids in logistics.

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, this has changed both production and consumption of TV drama. This is because live-tweeting by audiences has been especially useful in democratised criticism however this has lead to broadcasters being "beat down" from allegations over incomprehensible actors or violent actors which were based on the fact that a tiny handful of people disagreed.

Media Magazine: Netflix and the Cultural Industries 

1) What does David Hesmondhalgh argue with regards to how the creative industries have changed since the 1980s?

He argues that since the 1980s there has been a significant shift in cultural production due to factors such as the fact that cultural industries have moved closer to the centre of economic action or the fact that deregulation has reduced public ownership.

2) What is technological convergence? 

Technological convergence is the digitisation of media meaning every media form can be accessed on computers.

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

Due to digitisation technology companies were able to challenge traditional broadcasters as now for example Amazon is able to produce its own 'television' programmes.

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?

One of the monsters in a game is named after a demon prince, the producers had to go back to the 1970s to ensure that the connection transcended language barriers.