TV industry contexts

 Television industry contexts: Blog tasks


To finish our work on television, we need to complete some tasks exploring industry contexts around foreign-language TV, the changing audience for television and how streaming impacts the way audiences consume TV. Indeed, when answering these questions, consider the issues from both an audience and industry perspective.

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 the traditional audience for foreign-language subtitled media is expanding beyond its market, with more viewers embracing diverse content due to increased accessibility and interest in global storytelling.

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

Walter Iuzzolino suggests that the key appeal of his 'Walter Presents' shows is their ability to offer viewers unique and compelling storytelling from around the world.

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 subtitles have become more popular because they allow viewers to engage with content across various countries.

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

The article suggests that other audience pleasures of foreign TV drama include being presented to different cultures, perspectives, and storytelling styles.

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?

Was released in the UK on Channel 4's on-demand service, All 4

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?

The first episode of "Deutschland 83" in Germany attracted 2.9 million viewers, while the last episode garnered 1.72 million viewers. Channel 4's viewing figures for "Deutschland 83" averaged around 1.5 million viewers per episode.

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

The two production and distribution companies behind "Deutschland 83" are UFA Fiction and FremantleMedia International. In October, they announced the renewal of the series for a second season, titled "Deutschland 86."

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 in new international TV dramas through social media, and increasing viewership through recommendations and interactions.

The Guardian: How tech is changing television

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) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?

Streaming services like Netflix or Amazon Prime have changed TV drama narratives by allowing for more flexibility in storytelling, including longer or shorter episodes.

2) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?

Streaming's popularity encourages more cliffhangers to keep viewers engaged across multiple episodes, allowing binge-watching habits to occur.

3) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?

The "economics of production" have largely kept TV drama to the 45- or 60-minute episode format because this length allows for efficient production scheduling and fits traditional broadcast schedules.

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

Changed TV drama production by allowing for real-time collaboration among creators and enables viewers to engage with shows on-demand, anytime.

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?

David Hesmondhalgh argues that since the 1980s, the creative industries have become more commercially oriented, with increased focus on profit rather than artistic innovation.

2) What is technological convergence? 

Technological convergence refers to the different technologies, such as computing, telecommunications, and media, into a single device or platform, enabling new functions and experiences.

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

Technology companies are challenging traditional broadcasters in the TV industry by offering on-demand streaming services attracting viewers away from traditional TV channels.

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?

The article talks about Netflix's investment in international productions like "Narcos" as an example of how producers consider international audiences.

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