The rise of foreign-language TV: Blog tasks

The rise of foreign-language TV: Blog tasks

1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
over 10 years ago, if you told your friends you spent Saturday night glued to a subtitled European drama, you would have been acknowledged as pretentious, dull and a little odd.
Nowadays foreign-language dramas are considered to be fully mainstream. Now we are as likely to discuss the latest foreign thriller as we are a new season on HBO.
And while until recently our foreign television tastes have focused predominantly on Scandinavia and France, our tunnel vision is widening.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Iuzzolino suggests, the buzz around foreign TV was so strong, over the course of two years before the project's launch, he watched more than 3,500 hours of small-screen action; as the channel's curator, he was in a state of anxiety as he was convinced that someone would realise his idea before he could launch it.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
There could be other factors in foreign TV's new popularity, too. when we're frequently distracted from our TV viewing by Twitter feeds and snapchats or Instagram posts, subtitles are a welcome enhancement for us to focus. "When you read subtitles, you have to be glued to the screen," Deeks said. "That concentration gives a particular intensity to the viewing experience."

4) What are the other audiences pleasures of foreign TV drama suggested by the article?
The other audience pleasures of foreign TV drama that are suggested by the article are that the audience is attracted to the characters and become emotionally attatched to them because they see them countless times and some may look up to them as role models.

Now look at the bonus article - on Sherlock and how viewers are steering their favourite shows.

5) What examples are provided of how TV companies are increasingly using audiences to inform the production process?
Modern TV audiences have some understanding of TV production. the way tv involves the audience is great, ranging from the bloopers to the commentary upon the latest piece of startling news footage. It's really not surprising that the most responsive broadcasters are the online platforms who became programme makers, Netflix and Amazon. "Netflix resuscitated Development seven years after Rupert Murdoch's Fox network cancelled the Jason Bateman comedy, after old episodes took on a new life online, while Amazon rescued Ripper Street following fan uproar about it being axed by the BBC."

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?

As the worldwide success of Germany’s Deutschland ’83 proves, viewers want to see global drama — and television certainly has room for it. In fact, Deutschland ’83 is a perfect example when discussing English-speaking audience’s subtitled television show habits. The show Premiered 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.Whilst Deutschland ’83 received significantly fewer viewers in the US than Germany, with its US premiere garnering 0.066 million viewers compared to Germany’s 3.19 million, the series proved more successful in the US than its homeland.

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 pilot figures: 3.19mn

German finale figures: 1.63mn

Channel 4 peak: 2.13 mn

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

The two companies are Sundance TV and FreemantleMedia. they announced that there will be a second series succeeded Deutschland '83 called Deutschland '86.

4) What does the article suggest was the driving force behind the series being renewed for a new season (and possibly two new seasons)?

"The critical reception the UK and US audience had to the show."

5) 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 proposes a weekend pick on Facebook and engages with viewers on Twitter. Walter suggests that by doing this he has made these dramas more readily available.

IndieWire: The rise of international television

Now look at this IndieWire feature on the rise of international television. 

1) What does the article suggest regarding the difference between TV and film?
Foreign films have a place on the arthouse circuit, but where can you find foreign TV? Aside from British imports, which PBS and BBC America have staked out for years with great success, international series have in the past rarely made their way to the U.S. via legal means outside of foreign language channels. At the same time, interest in remaking shows that have been successful in other countries continues to grow — “Homeland” is based on Israeli drama “”Hatufim” (Prisoners of War),” “The Killing” on Danish production “Forbrydelsen” (The Crime), and “The Returned” itself has been targeted for an English-language remake.

2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?

The US show was more about  the agent investigating the return soldier than the experiences of POWs(Prisoner's Of War).

3) Why do you think Deutschland 83 was able to rise above these cultural differences to be successful in the US and UK? Did this inadvertently make the drama fail in Germany?
The show portrayed a new viewpoint that was alien across 3 cultures. It didn't feature the complexity of narrative that is usually found in War dramas, the change attracted the international audience. This failed in Germany as some stated it featured inaccuracies and wasn't the accurate representation that they had hoped for.

4) What does the article suggest about subtitling?

Subtitling helps us focus on the show than lose interest as we can be easily distracted in the multiple-screen era.

5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?

Steven thinks that dramas should be eccentric about the culture of the show. The focus should be in the detail that interests the local people, and these things will attract the global audience. 

The Guardian: How tech is changing television

Finally, 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) What are the traditional lengths for TV drama and what dictated these programme formats?
The traditional lengths of TV dramas are between 45-60 minutes long and some may have adverts in between them, but this is determined by the licence fee funding permits or different commercial networks. 

2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?They have changed the traditional production as Netflix now produces it's own series. Now, people can catch up within a day on an entire series rather than having to wait 7 days for a new episode.

3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
The shows are easily accessible and with more cliffhangers people watch 'one more episode' 

4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
The "economics of production" kept TV drama largely sticking to the 45-60 minute episode format because the show has been shot in blocks, so this maximises the use of time, and minimises the cost of actors and crew.

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

Permanent 24/7 connectivity" has changed both production and consumption of TV dramas because the benefit of self-scheduling and repeat viewing affects consumption.