The rise of foreign-language TV: Blog tasks
Read this Independent feature on foreign-language dramas. 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 traditional audience for foreign-language drama would be usually quite educated citizens as they would have an incline to explore different cultures away from their own. "The unfamiliar setting gives a freshness to genre pieces." Different conventions may become cliche and through foreign language dramas, there may be new conventions viewers from the UK aren't used to
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Walter says it is "urban, real and multicultural" and this appeals to a wide variety of people as they are becoming more accustomed to other cultures because of globalisation. People want to learn about other cultures while watching new, raw and innovative content.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
When watching subtitled drama, it requires complete concentration in order to understand the content. When watching English spoken TV, the viewer can become distracted through their phone and other things because they understand the language and end up listening rather than watching which can take away from some of the intensity of the drama.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Foreign TV dramas give audience fresh and raw content which can become exciting because of the unfamiliarity of the language. Being in a different environment makes the audience more alert and pay more attention to details within the show. Pleasures include diversion, surveillance, escapism.
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?
Using social media to express opinions on shows can give a show a higher viewing. If popular opinion leaders on social media recommend a show it will have a higher viewing.
1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
The traditional audience for foreign-language drama would be usually quite educated citizens as they would have an incline to explore different cultures away from their own. "The unfamiliar setting gives a freshness to genre pieces." Different conventions may become cliche and through foreign language dramas, there may be new conventions viewers from the UK aren't used to
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Walter says it is "urban, real and multicultural" and this appeals to a wide variety of people as they are becoming more accustomed to other cultures because of globalisation. People want to learn about other cultures while watching new, raw and innovative content.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
When watching subtitled drama, it requires complete concentration in order to understand the content. When watching English spoken TV, the viewer can become distracted through their phone and other things because they understand the language and end up listening rather than watching which can take away from some of the intensity of the drama.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Foreign TV dramas give audience fresh and raw content which can become exciting because of the unfamiliarity of the language. Being in a different environment makes the audience more alert and pay more attention to details within the show. Pleasures include diversion, surveillance, escapism.
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?
Using social media to express opinions on shows can give a show a higher viewing. If popular opinion leaders on social media recommend a show it will have a higher viewing.
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 wasn't the only German series to premiere on a US network, however it was released in the US 5 months before it was released in Germany which shows the global appeal foreign language has and the ambition of the directors within Deutschland 83.
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 viewing figures-
1st episode- 3.19 million viewers
Last episode- 1.63 million viewers
Channel 4 saw viewing figures reach 2.13 million viewers in a prime time TV slot, making it the the UK’s highest-rated foreign drama.
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
SundanceTV and FremantleMedia announced in October that there will be a season 2 of Deutschland 83 (called Deutschland 86) released in 2018.
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 large viewing figures from America and the UK are the main reason for a possibility of two new seasons being released.
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?
Walter uses social media to communicate with his audience and provide them with new, foreign-TV content. An example is the “Weekend Pick” on his Facebook page.
IndieWire: The rise of international television
Now 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. Answer the questions below:
1) What does the article suggest regarding the difference between TV and film?
TV and film are different because, film tends to focus on telling a story within a short space of time, whereas TV tends to be tailored to domestic tastes. TV is more detailed and allows the audience to create stronger relationships with the characters as the story isnt crammed into 90 mins but rather over a long season.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
The original series focused on exploring the experiences of and the idea of prisoners of war, which was called an “open wound in Israeli society,” but in the US the emphasis was on the agent investigating the returned soldier. American issues of distrusting the government and of a fears of agents among us were more of a focus when it was remade in the US.
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?
I think Deutschland 83 was able to rise above these cultural differences because it tells a story of history with action and excitement. This might have caused it to fail in Germany because Germans may have seen the period of 1983 as a difficult time which wasnt represented accurately or it may have become too fetishised for a wider audience.
4) What does the article suggest about subtitling?
The article suggests that Americans and British people are not used to subtitles. In foreign countries, almost everything is subtitled or dubbed as broadcasters fill their slots with American/British content.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
You learn about the way other people live and their culture. You become so indulged in to the drama that you feel like you are there. You have travelled to another part of the world without having ton leave your home.
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?
46 minutes that is broken three or four times for ads.
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
Netflix and Amazon Prime have led TV drama narratives becoming more thought out because of the fact that people can watch the whole season by "binge watching"
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
They have led to more complex storylines and an increase in cliffhangers because the writers have to conjure successive shocks to maintain suspense throughout the episode because of the lack of ad breaks.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
TV dramas are usually shot in blocks. In order to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is filming, another team is prepping the next section. It is the most financial benefit to keep episodes in this style
5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
Permanent 24/7 connectivity has radically altered viewer responses. Live-tweeting by audiences has usefully democratised criticism and enjoyment.
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 wasn't the only German series to premiere on a US network, however it was released in the US 5 months before it was released in Germany which shows the global appeal foreign language has and the ambition of the directors within Deutschland 83.
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 viewing figures-
1st episode- 3.19 million viewers
Last episode- 1.63 million viewers
Channel 4 saw viewing figures reach 2.13 million viewers in a prime time TV slot, making it the the UK’s highest-rated foreign drama.
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
SundanceTV and FremantleMedia announced in October that there will be a season 2 of Deutschland 83 (called Deutschland 86) released in 2018.
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 large viewing figures from America and the UK are the main reason for a possibility of two new seasons being released.
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?
Walter uses social media to communicate with his audience and provide them with new, foreign-TV content. An example is the “Weekend Pick” on his Facebook page.
IndieWire: The rise of international television
Now 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. Answer the questions below:
1) What does the article suggest regarding the difference between TV and film?
TV and film are different because, film tends to focus on telling a story within a short space of time, whereas TV tends to be tailored to domestic tastes. TV is more detailed and allows the audience to create stronger relationships with the characters as the story isnt crammed into 90 mins but rather over a long season.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
The original series focused on exploring the experiences of and the idea of prisoners of war, which was called an “open wound in Israeli society,” but in the US the emphasis was on the agent investigating the returned soldier. American issues of distrusting the government and of a fears of agents among us were more of a focus when it was remade in the US.
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?
I think Deutschland 83 was able to rise above these cultural differences because it tells a story of history with action and excitement. This might have caused it to fail in Germany because Germans may have seen the period of 1983 as a difficult time which wasnt represented accurately or it may have become too fetishised for a wider audience.
4) What does the article suggest about subtitling?
The article suggests that Americans and British people are not used to subtitles. In foreign countries, almost everything is subtitled or dubbed as broadcasters fill their slots with American/British content.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
You learn about the way other people live and their culture. You become so indulged in to the drama that you feel like you are there. You have travelled to another part of the world without having ton leave your home.
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?
46 minutes that is broken three or four times for ads.
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
Netflix and Amazon Prime have led TV drama narratives becoming more thought out because of the fact that people can watch the whole season by "binge watching"
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
They have led to more complex storylines and an increase in cliffhangers because the writers have to conjure successive shocks to maintain suspense throughout the episode because of the lack of ad breaks.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
TV dramas are usually shot in blocks. In order to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is filming, another team is prepping the next section. It is the most financial benefit to keep episodes in this style
5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
Permanent 24/7 connectivity has radically altered viewer responses. Live-tweeting by audiences has usefully democratised criticism and enjoyment.
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