Television industry contexts: Blog tasks

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 foreign-language TV was traditionally watched by a small audience who were more educated and interested in world cinema.

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

Walter Iuzzolino says the key appeal is strong storytelling and high-quality drama. He believes audiences enjoy emotional and engaging stories from different cultures.

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

The article suggests people are now more comfortable with subtitles because they are used to reading on screens while watching content. This makes subtitles feel more normal.

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

The article suggests audiences enjoy seeing different cultures, more realistic storytelling and original ideas that are different from mainstream British TV.

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 was released in the United States before it was shown in Germany, which is unusual for a German drama.

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 article explains that the first episode in Germany had higher viewing figures than the final episode, showing a decline in audience interest. It also states that Channel 4 had strong viewing figures for a foreign-language drama.

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

The show was produced by UFA Fiction and distributed by Fremantle. They announced plans to continue the series with future seasons.

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 uses social media to recommend shows and communicate with audiences. He suggests this has helped make foreign-language dramas more popular in the UK because audiences can easily discover and share them.

The Guardian: How Britain's TV industry is struggling in the streaming era

Read this Guardian feature on how Britain's TV industry - particularly public service broadcasters - are struggling to keep up with the American streaming giants. Answer the following questions: 

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

BBC and Channel 4 are struggling to compete with global streaming services because they have smaller budgets for drama.

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? 

The article explains that the global streaming market reached a peak and has since declined, showing that growth in the industry is slowing down.

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? 

High-end TV dramas can cost millions of pounds per hour to produce. This creates a challenge for UK broadcasters because they cannot match the budgets of companies like Netflix.

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

There is still optimism because British TV continues to produce high-quality content that is successful internationally.

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 the creative industries have become more commercial and competitive since the 1980s.

2) What is technological convergence? 

Technological convergence is when different technologies such as television, the internet and mobile devices come together.

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

Companies like Netflix are challenging traditional broadcasters by offering on-demand content and reaching global audiences.

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 explains that Netflix creates content for international audiences, meaning producers must think about global viewers when making programmes.