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 traditionally, foreign language subtitled media appealed to a small, niche audience rather than the general public. These viewers were often seen as intellectual or pretentious, and the content was considered outside mainstream entertainment.

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

Walter Iuzzolino argues that the key appeal lies in strong, high quality storytelling that has already proven successful in its home country. He emphasises that these shows are not niche or overly complex, but popular, engaging dramas that can attract a wide mainstream audience.

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 in an age where viewers are often distracted by phones and social media, subtitles actually improve engagement. Because viewers must read them, they are forced to concentrate fully, creating a more immersive and focused viewing experience.

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

The article highlights that audiences enjoy gaining insight into different cultures, locations, and lifestyles through foreign TV dramas, which can provide diversion. It also suggests that the unfamiliar settings add freshness and authenticity, making the stories feel more original and exciting compared to typical domestic shows, also allowing them to conduct and explore new experiences.

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?

Deutschland 83 had an unusual international release schedule, premiering first in the United States in June 2015 before being broadcast in its home country, Germany, five months later. It was then released in the UK on Channel 4 in January 2016, highlighting how foreign dramas are increasingly distributed globally rather than locally first.

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?

In Germany, the show began strongly with around 3.19 million viewers for its first episode, but this steadily declined to about 1.63 million by the final episode. In contrast, its UK broadcast on Channel 4 was very successful, reaching peak viewing figures of approximately 2.13 million, showing stronger sustained interest abroad.

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

The two companies involved were SundanceTV and FremantleMedia, who were responsible for distributing and supporting the series internationally. In October, they announced that the show had been renewed for a second season, largely due to its critical and commercial success outside Germany.

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 Iuzzolino engages audiences by actively using social media platforms, where he shares curated recommendations such as his weekend pick and interacts directly with viewers. He suggests that this personal and accessible approach has helped shift foreign-language dramas in the UK from being seen as niche, elite content to something more mainstream and widely appreciated.

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 finding it increasingly difficult to compete in the TV drama market due to the dominance of global streaming platforms. This is because these companies have far larger budgets, meaning UK broadcasters are under pressure and risk being pushed out of high-end drama production unless they adapt.

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 article explains that the global premium TV streaming market reached a peak of around $220 billion during the height of the streaming boom, when companies were heavily investing in content. In recent years, this has dropped to approximately $150 billion, reflecting a cooling of the market as streamers reduce spending and focus more on profitability.

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 television dramas can cost anywhere between £3 million and £10 million per hour, with some even exceeding this depending on production scale and star power. This creates a major challenge for UK public service broadcasters because they cannot match the financial power of global companies, making it difficult to consistently produce large-scale, competitive dramas without external partnerships.

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

Despite financial pressures, there is still optimism because the UK continues to be known for its strong creative talent, writing, and production quality. The article suggests that through co-productions, international collaboration, and innovation, the British TV industry can adapt to changes and continue to succeed on a global stage.

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?

Hesmondhalgh says that although digitisation’s first major impact was on the music industry, with the creation of CDs in the early 1980s, it was the growth of home computing and the creation of the World Wide Web, which led to increased technological convergence; digitisation of media meant every media form could be accessed on computers. It was this that eventually enabled tech companies to compete directly with media companies and, arguably, even become media companies.

2) What is technological convergence? 

Technological convergence is the integration of previously unrelated technologies, functionalities, or media into single, unified systems or devices. It streamlines user experiences by enabling one platform to perform multiple functions.

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

Digitisation, and the ability to distribute texts via the Internet, meant that technology companies could challenges traditional broadcasters. For example, Amazon (originally an online book seller) is now producing its own ‘television’ programmes. In doing this it followed Netflix, which began as a postal DVD service, in ‘liberating’ television programmes from broadcasters’ schedules with on-demand viewing. Netflix understood their business was distributing audio visual texts and so realised that it needed to create its own online subscription service. Traditional distributors of DVDs, like the shop Blockbuster, went bust after broadband connections facilitated video

streaming.

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 order to address such diverse audiences with the same programmes producers have to take great care to ensure their productions can be understood widely. Although it’s true to say that in many countries American culture is, after their own, most people’s second culture and so understanding US-produced

texts is relatively easy, that doesn’t mean producers can assume everything will be understood globally.

For example, take the monster in Stranger Things named (by the kids) the ‘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. Consequently the Demogorgon was renamed in some parts of the world based on what the demon prince of Dungeons & Dragons was called. In addition, they try to use the actors that regularly voice particular performers in foreign language versions.