Television industry contexts: Blog tasks

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

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

This article suggests that foreign language media is niche/pretentious and reserved for those with deep interest in intellectual or foreign cinema. 

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

Being able to expose oneself to "different textures, types, and cultural perspectives"- new diverse worlds through storytelling.

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

That in a world distracted by social media and notifications, the subtitles help people stay engaged for a more focused experience.

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

The unique locales, accents, and cultural elements of foreign TV drama offer a deeper immersion into different worlds, adding richness and excitement to the viewing experience. Additionally, the universal themes like love, betrayal, and politics make the content relatable despite the cultural differences.

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

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

Premiering 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 to find its audience.

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?

US premiere - 0.066 million

Germany premiere - 3.19m and then went down to 1.63m.

Channel 4 - 2.13m in prime time TV

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

SundanceTV and FremantleMedia. They announced a second series called D86.

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 posts “Weekend Pick” on his Facebook page and engaging with viewers on Twitter. American audiences, it’s not so much filling a gap than promoting what is readily available.

The Guardian: How Britain's TV industry is struggling in the streaming era
 This Guardian feature on how Britain's TV industry - particularly public service broadcasters - are struggling to keep up with the American streaming giants.  

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

UK public service broadcasters like the BBC/Channel 4 are struggling to afford the production costs of high-end TV dramas. The increased competition from streaming giants like Netflix has also made it difficult for UK broadcasters to keep up.

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? 

At its peak in 2022, the global premium TV streaming market was valued at £5.1 billion, with nearly 160 productions funded or co-funded by streamers. However, the market has dropped by almost £2 billion annually, falling to £3.4 billion last year.

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? 

Usually £5 million per hour. PSBs are unable to afford because of financial pressure. The BBC, ITV, and Channel 4, already facing an advertising downturn and rising inflation, have to scale back their commissioning spend and seek co-production deals to keep producing top-tier content. 

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

There is optimism about the British TV industry because, despite the current financial pressures, UK-produced content is still of very high quality and continues to be in demand. The global market for British dramas remains strong, especially as British content is highly regarded and is expected to see renewed demand in the near future.

Media Magazine: Netflix and the Cultural Industries (MM, 63) -

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

In the 1980s media companies began to see the benefit of synergy at the same time that governments in the west, because of the decline of manufacturing industries, came to appreciate the economic benefits of having a strong ‘cultural’ sector.  Digitisation's first impact was on the creation of the CD.

2) What is technological convergence? 

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 are challenging traditional broadcasters in the TV industry by offering more flexible, on-demand content delivery platforms. Streaming services like Netflix, Amazon Prime Video, and Disney+.

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?

Netflix's production of  Money Heist which was created in Spain but gained a massive global following. Initially a show with limited appeal in its home country, Money Heist was embraced by international audiences due to Netflix's wide distribution model.

Extension tasks -

IndieWire feature on the rise of international television. 

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

TV shows reflect cultural contexts, as seen in the US remake of Prisoners of War into Homeland. The original Israeli series focused on prisoner of war trauma in Israeli society, while the US version shifted to American concerns about distrust in government and internal threats. Similarly, The Returned carries distinct French cultural elements, and an American remake would adapt these to US cultural norms and interests.

2) 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.

Advances in technology, especially through streaming platforms and satellite channels, have expanded the reach of TV dramas like Capital and Deutschland 83 to global audiences. Deutschland 83 benefited from platforms like Hulu, allowing it to reach international viewers and boosting the trend of international co-productions. The global distribution model enabled shows to access broader audiences, making niche dramas more widely available and popular.