Independent: British viewers can't get enough of foreign-language dramas
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?
they were seen as 'pretentious, dull and, possibly, a little odd.'
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
one key appeal is that 'we all love getting that insight into a different culture....the houses, the people, what they wear, what their voices sound like, the language, is one of the biggest appeals. There is a huge pleasure in that.'
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
'foreign-language dramas aren't even on-trend, they're fully mainstream.' this suggests that they are becoming increasingly popular and views on them have changed a lot to compared to a traditional audiences perspective.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
'box-set binge' as Netflix and others transformed how we watch 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?
Audiences use social media to inform others about certain new TV shows or news.
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?
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 (and is) 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?
Whilst Deutschland ’83 received significantly fewer viewers in the US than Germany, with its US premiere garnering 0.066 million viewers compared to Germany’s 3.19 million, the series proved more successful in the US than its homeland. Channel 4 saw viewing figures reach a peak of 2.13 million viewers in a prime time TV slot, earning it the title of 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?
The two companies are Sundance TV and FreemantleMedia. There will be a second series succeeded Deutschland '83 called Deutschland '86.
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.
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?
Iuzzolino posts a “Weekend Pick” on his Facebook page and engaging with viewers on Twitter makes it impossible not to become engrossed in the experience.
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 very different because, while film tends to focus on telling a story in a short space of time, TV tends to feel culturally specific, tailored to domestic tastes. TV has more in depth details which allows audiences to connect and relate with characters.
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 the experiences of and the idea of POWs, which he called an “open wound in Israeli society,” but that for the U.S. the emphasis was on the agent investigating the returned soldier, on a more American issues of distrusting the government and of a fears of agents among 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?
it was able to do this because it made something historical entertaining and enticing, however this may have contributed to the reason that it failed in Germany as some facts were inaccurate as parts of the show were dramatised to make it more interesting.
4) What does the article suggest about subtitling?
they make you focus on the show more because if you look away or get distracted even just for a moment you then dont understand what is happening.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
he thinks that dramas should be eccentric about the culture of the show. The focus should be in the detail that interests the local people, and these things will attract the global audience. Surveillance is the main audience pleasure in a foreign drama.
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?
the three most frequent lengths of TV are 60mins, 30mins and 15mins. These programme formats arose from a grid schedule designed around hours and half-hours in order to make programmes easy to find
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
These streaming networks have changed the way narratives are constructed as now you can get more instant episodes and dramas and watch them whenever you want as there is no fixed set time. There is also catch up viewing as there is less of a chance that audiences will miss something as there is a seismic shift because producers are changing content.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
Storylines can now become as complex as they want, because now people can watch a season a year later when a new season becomes commissioned to understand what went on before. But when VOD wasn't accessible, shows couldn't become too complex otherwise you would lose the interest of viewers.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
Dramas are usually shot in blocks, so they have to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is being filmed, another team is prepping for the next section. It also affects the structure of show as well as assuring the director(s) to ensure that they feel that they are telling the whole story.
5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
For viewers the benefit of self-scheduling and repeat viewing affects consumption. Production companies face more criticism from the minority that are then broadened out to the public by the press to spread something false about a TV Drama.
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?
they were seen as 'pretentious, dull and, possibly, a little odd.'
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
one key appeal is that 'we all love getting that insight into a different culture....the houses, the people, what they wear, what their voices sound like, the language, is one of the biggest appeals. There is a huge pleasure in that.'
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
'foreign-language dramas aren't even on-trend, they're fully mainstream.' this suggests that they are becoming increasingly popular and views on them have changed a lot to compared to a traditional audiences perspective.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
'box-set binge' as Netflix and others transformed how we watch 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?
Audiences use social media to inform others about certain new TV shows or news.
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?
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 (and is) 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?
Whilst Deutschland ’83 received significantly fewer viewers in the US than Germany, with its US premiere garnering 0.066 million viewers compared to Germany’s 3.19 million, the series proved more successful in the US than its homeland. Channel 4 saw viewing figures reach a peak of 2.13 million viewers in a prime time TV slot, earning it the title of 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?
The two companies are Sundance TV and FreemantleMedia. There will be a second series succeeded Deutschland '83 called Deutschland '86.
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.
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?
Iuzzolino posts a “Weekend Pick” on his Facebook page and engaging with viewers on Twitter makes it impossible not to become engrossed in the experience.
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 very different because, while film tends to focus on telling a story in a short space of time, TV tends to feel culturally specific, tailored to domestic tastes. TV has more in depth details which allows audiences to connect and relate with characters.
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 the experiences of and the idea of POWs, which he called an “open wound in Israeli society,” but that for the U.S. the emphasis was on the agent investigating the returned soldier, on a more American issues of distrusting the government and of a fears of agents among 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?
it was able to do this because it made something historical entertaining and enticing, however this may have contributed to the reason that it failed in Germany as some facts were inaccurate as parts of the show were dramatised to make it more interesting.
4) What does the article suggest about subtitling?
they make you focus on the show more because if you look away or get distracted even just for a moment you then dont understand what is happening.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
he thinks that dramas should be eccentric about the culture of the show. The focus should be in the detail that interests the local people, and these things will attract the global audience. Surveillance is the main audience pleasure in a foreign drama.
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?
the three most frequent lengths of TV are 60mins, 30mins and 15mins. These programme formats arose from a grid schedule designed around hours and half-hours in order to make programmes easy to find
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
These streaming networks have changed the way narratives are constructed as now you can get more instant episodes and dramas and watch them whenever you want as there is no fixed set time. There is also catch up viewing as there is less of a chance that audiences will miss something as there is a seismic shift because producers are changing content.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
Storylines can now become as complex as they want, because now people can watch a season a year later when a new season becomes commissioned to understand what went on before. But when VOD wasn't accessible, shows couldn't become too complex otherwise you would lose the interest of viewers.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
Dramas are usually shot in blocks, so they have to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is being filmed, another team is prepping for the next section. It also affects the structure of show as well as assuring the director(s) to ensure that they feel that they are telling the whole story.
5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
For viewers the benefit of self-scheduling and repeat viewing affects consumption. Production companies face more criticism from the minority that are then broadened out to the public by the press to spread something false about a TV Drama.
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