TV: Industry contexts
1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
It suggests that traditionally foreign language media was only watched by a niche group of people who enjoyed intellectually challenging and complex media. These people were often seen as odd by others who didn’t understand the audience pleasures of the foreign language media.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
He suggests the key appeal of his show is the audience pleasure of escapism. This is because he claims that he helps find the best of the best foreign language media which are “monster hits in their country”. He claims the shows/movies he finds are so good it’s as though you’re visiting a different country every week.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
It claims that subtitles are popular because they force us to focus on what we’re watching and stop us from looking at our phone or other devices during the movie otherwise we won’t understand what’s going on.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Insight into different cultures, variety of genres, binge watching and sharing your experiences with others who enjoyed it via social media.
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 premiered in the US first in June 2015 despite being a german language show. It then aired in Germany 5 months later and then in the UK in January 2016.
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?
In Germany, the premiere had 3.19 million viewers but by the final episode the viewer count dropped to just 1.63 million which shows it wasn’t as popular in Germany. However, on Channel 4 it reached a peak of 2.13 million viewers which made it 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 production/distribution companies behind Deutschland 83 were SundanceTV and FreemantleMedia who announced in October that there would be a second series titled Deutschland 86 due to its success in the UK and US.
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?
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 premiered in the US first in June 2015 despite being a german language show. It then aired in Germany 5 months later and then in the UK in January 2016.
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?
In Germany, the premiere had 3.19 million viewers but by the final episode the viewer count dropped to just 1.63 million which shows it wasn’t as popular in Germany. However, on Channel 4 it reached a peak of 2.13 million viewers which made it 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 production/distribution companies behind Deutschland 83 were SundanceTV and FreemantleMedia who announced in October that there would be a second series titled Deutschland 86 due to its success in the UK and US.
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?
Luzzolino uses social media to post his “weekend picks” which makes it feel more personal and carefully hand picked compared to the faceless nameless picks on Netflix/Amazon. He believed his streaming service has removed the stereotype of subtitled foreign language media being only for the elite and he’s made it slightly more mainstream.
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?
UK public service broadcasters can’t afford to create media with the same budgets as streaming services such as Netflix which means they’ve had to stop the production of multiple shows in the past due to a lack of funding.
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 peak of the premium TV market was at £5.1bn in 2022 but it has dropped in recent years to £3.4bn which means almost £2bn in annual spending has disappeared.
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 production can cost as much as £5 million/hour to produce which British PSB’s can’t afford due to rising inflation and therefore rising costs making their budgets decrease.
4) Look at the end of the article. Why is there still an optimism about the British TV industry?
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?
UK public service broadcasters can’t afford to create media with the same budgets as streaming services such as Netflix which means they’ve had to stop the production of multiple shows in the past due to a lack of funding.
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 peak of the premium TV market was at £5.1bn in 2022 but it has dropped in recent years to £3.4bn which means almost £2bn in annual spending has disappeared.
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 production can cost as much as £5 million/hour to produce which British PSB’s can’t afford due to rising inflation and therefore rising costs making their budgets decrease.
4) Look at the end of the article. Why is there still an optimism about the British TV industry?
British TV broadcasters still produce great quality dramas which will continue to see global demand so the British TV industry isn’t at risk.
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?
Hesmonhalgh talks about how globalisation has led to a decrease in the dominance of North American Media in the market, how media has become closer to the centre of economic action as it brings in more and more money each year and how new technologies have allowed tech companies to become media producers.
2) What is technological convergence?
It is the process by which different types of media become available on the same platform
3) How are technology companies challenging traditional broadcasters in the TV industry?
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?
1) What does David Hesmondhalgh argue with regards to how the creative industries have changed since the 1980s?
Hesmonhalgh talks about how globalisation has led to a decrease in the dominance of North American Media in the market, how media has become closer to the centre of economic action as it brings in more and more money each year and how new technologies have allowed tech companies to become media producers.
2) What is technological convergence?
It is the process by which different types of media become available on the same platform
3) How are technology companies challenging traditional broadcasters in the TV industry?
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?
z
Comments
Post a Comment