Industries: The rise of foreign-language TV dramas
1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
The article suggests that people who watch subtitled tv tend to be pretentious, dull etc
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Two USP's:
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
The subtitles act as a way to keep the interest of the viewers, stopping them from getting distracted
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Walter states that the main pleasure for audiences are surveillance, with fiction helping the viewers interested with foreign TV
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?
Sherlock fans are helping change the show with their theories. The online speculation is helping the show runners decide what to do with the characters
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?
D83 was released 5 months after the US, after it was released in Germany on the AMC network sundance 2015
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?
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
SunDance TV and Freemantle media created the show, in October they announced the sequel
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 positive international reception (particularly the US)
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?
In order to communicated with the walter presents fan base, he uses social media (particularly twitter and facebook) This helped these foreign dramas far more accessible
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?
Foreign TV is far less alienating compared to foreign film.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
Homeland focused on the story of a returning soldier compared to prisoners 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 plot to D83 is quite common knowledge in Germany (considering its their recent history) due to this
it could have been boring for Germans. The UK and The US on the other hand may not have that as common knowledge, resulting in a more interesting viewing experience.
4) What does the article suggest about subtitling?
It suggests that it helps viewers concentrate on the content rather than getting distracted.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
Zandt suggests that shows should first appeal to the local communities first, after that then can they attract an international 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?
Traditional lengths are:
60,30 and 15 minutes. with scheduling every hour and half hour for easier broadcast
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
Traditional TV producers created narratives that revolve around cliff hangers to keep viewers watching after week. With Netflix and other demand services, that cant be a plot mechanism with the constant availability of the shows online.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
complex storylines are far more needed nowadays due to the instant availability of TV shows, the cliffhangers can be used to make sure that the audience keeps watching.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
They're normally kept at this time to make them more easier to be managed as they'll be set in blocks.
5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
It helps in two fronts, one, it helps with keeping fans engaged with the show, a sense of community can be found when large groups of people share the fact that they're watching the same show E.g. Umbrella academy and GOT. Along with that it also offers an opportunity or free user generated promotion
There is a fair amount of work here - the questions are not too challenging but there is plenty to read. However, this will prepare you brilliantly for the extended essay question in Media Paper 2 - particularly if the question focuses on industry or audience.
The article suggests that people who watch subtitled tv tend to be pretentious, dull etc
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Two USP's:
- They were massively successful in their respective home countries
- They all earned substantial amounts of money.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
The subtitles act as a way to keep the interest of the viewers, stopping them from getting distracted
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Walter states that the main pleasure for audiences are surveillance, with fiction helping the viewers interested with foreign TV
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?
Sherlock fans are helping change the show with their theories. The online speculation is helping the show runners decide what to do with the characters
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?
D83 was released 5 months after the US, after it was released in Germany on the AMC network sundance 2015
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?
SunDance TV and Freemantle media created the show, in October they announced the sequel
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 positive international reception (particularly the US)
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?
In order to communicated with the walter presents fan base, he uses social media (particularly twitter and facebook) This helped these foreign dramas far more accessible
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?
Foreign TV is far less alienating compared to foreign film.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
Homeland focused on the story of a returning soldier compared to prisoners 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 plot to D83 is quite common knowledge in Germany (considering its their recent history) due to this
it could have been boring for Germans. The UK and The US on the other hand may not have that as common knowledge, resulting in a more interesting viewing experience.
4) What does the article suggest about subtitling?
It suggests that it helps viewers concentrate on the content rather than getting distracted.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
Zandt suggests that shows should first appeal to the local communities first, after that then can they attract an international 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?
Traditional lengths are:
60,30 and 15 minutes. with scheduling every hour and half hour for easier broadcast
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
Traditional TV producers created narratives that revolve around cliff hangers to keep viewers watching after week. With Netflix and other demand services, that cant be a plot mechanism with the constant availability of the shows online.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
complex storylines are far more needed nowadays due to the instant availability of TV shows, the cliffhangers can be used to make sure that the audience keeps watching.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
They're normally kept at this time to make them more easier to be managed as they'll be set in blocks.
5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
It helps in two fronts, one, it helps with keeping fans engaged with the show, a sense of community can be found when large groups of people share the fact that they're watching the same show E.g. Umbrella academy and GOT. Along with that it also offers an opportunity or free user generated promotion
There is a fair amount of work here - the questions are not too challenging but there is plenty to read. However, this will prepare you brilliantly for the extended essay question in Media Paper 2 - particularly if the question focuses on industry or audience.
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