The rise of foreign-language drama
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.
1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
Traditional audiences were seen as pretentious and dull, it was very niche compared to today. There were only a few broadcasters like BBC and Channel 4 presenting these texts.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Walter says "'it's simply down to material', they select popular shows in their countries so they are not a niche, its something everyone can enjoy. Also, binge-watching as box sets are available are an attraction.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
When reading subtitles, people are glued to their screen, its an enforcement to focus. Otherwise, we wouldn't watch foreign dramas as we can't multitask.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Surveillance is the main pleasure. Being able to see different cultures and how different they are is an appeal.
Another appeal he mentions was that fiction shows play an important role. Their remit is to be, 'the young, intelligent channel that reflects society for what it is. It's urban, real and multicultural.' The internet being available means we can explore cultures and people, especially in London where there are a lot of people from different backgrounds and all walks of life. The themes in peoples lives are all the same in having, 'love, betrayal, life, death, violence and politics'. So this is another audience pleasure of personal identity when relating with these themes in the shows but also allowing us to see the reflection of our society and behaviour.
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
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.
1) What does the article tell us about Deutschland 83's release schedule?
It was released 5 months in the US after its premiere in Germany. It was shown on the AMC's network Sundance TV in June 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
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?
IndieWire: The rise of international television
Now look at this IndieWire feature on the rise of international television.
1) What does the article suggest regarding the difference between TV and film?
TV tends to be more culturally specific, it allows more room for texts to portray different cultures alien to native viewers. It also suggest the audience get the pleasure of personal identity in TV.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
The emphasis on the US show was more on the agent investigating the return soldier than the experiences of POWs(Prisoner's 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?
This show featured a viewpoint that was alien to the whole 3 cultures. It didn't feature the omneity complex of narrative that is usually in all Cold War dramas, the change attracted the international audience. This failed in Germany as some stated it featured inaccuracies and wasn't the accurate representation that they had hoped for. It also features the audience pleasure of surveillance. It makes people learn about the Cold War, which is what some people would want to do, but the audience are being educated in an entertainment viewpoint, that may be fictional but does portray some historical accuracy in the narrative.
4) What does the article suggest about subtitling?
Subtitling helps us focus on the show than lose interest as we can be easily distracted in the multiple-screen era.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
The Guardian: How tech is changing television
Finally, read this Guardian feature on how tech is changing television.
1) What are the traditional lengths for TV drama and what dictated these programme formats?
The lengths are 60, 30 and 15 minutes, and are designed around hours and half-hours as they make programmed easier find in scheduling. A license fee advert offers an uninterrupted 59 minute episode but a commercial network has a script of 46 minutes broken into 3/4 parts with ads.
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
Drama narratives need cliffhangers that instantly want the audience wanting more and more of the show. Shows in these online platforms are released with all the episodes in one go than them being released the traditional wait of a week. The themes in the shows have to resonate in many places as the audience using streaming services tend to be younger.
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?
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.
1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
Traditional audiences were seen as pretentious and dull, it was very niche compared to today. There were only a few broadcasters like BBC and Channel 4 presenting these texts.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Walter says "'it's simply down to material', they select popular shows in their countries so they are not a niche, its something everyone can enjoy. Also, binge-watching as box sets are available are an attraction.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
When reading subtitles, people are glued to their screen, its an enforcement to focus. Otherwise, we wouldn't watch foreign dramas as we can't multitask.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Surveillance is the main pleasure. Being able to see different cultures and how different they are is an appeal.
Another appeal he mentions was that fiction shows play an important role. Their remit is to be, 'the young, intelligent channel that reflects society for what it is. It's urban, real and multicultural.' The internet being available means we can explore cultures and people, especially in London where there are a lot of people from different backgrounds and all walks of life. The themes in peoples lives are all the same in having, 'love, betrayal, life, death, violence and politics'. So this is another audience pleasure of personal identity when relating with these themes in the shows but also allowing us to see the reflection of our society and behaviour.
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?
Writers and producers of the show are using the fan's opinions to direct certain aspects of the show. In Sherlock they had a scene of fans theorising what happened to Sherlock, which is what some fans of the show were doing. Also, this happens in Doctor Who where they weren't trying to make the show for a niche audience as it wouldn't keep the show alive with many viewers which is what the viewers wanted. They didn't want the show to die out.
Amazon created a pilot season where they produced and showed the first episode of potential seasons and the highest rated ones would get produced. One such show was 'The Man In The High Castle'.
Amazon created a pilot season where they produced and showed the first episode of potential seasons and the highest rated ones would get produced. One such show was 'The Man In The High Castle'.
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.
1) What does the article tell us about Deutschland 83's release schedule?
It was released 5 months in the US after its premiere in Germany. It was shown on the AMC's network Sundance TV in June 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?
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)?
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 critical reception the UK and US audience had to the show.
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?
He proposes a weekend pick on Facebook and engages with viewers on Twitter. Walter suggests that this had made these dramas more readily available.
IndieWire: The rise of international television
Now look at this IndieWire feature on the rise of international television.
1) What does the article suggest regarding the difference between TV and film?
TV tends to be more culturally specific, it allows more room for texts to portray different cultures alien to native viewers. It also suggest the audience get the pleasure of personal identity in TV.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
The emphasis on the US show was more on the agent investigating the return soldier than the experiences of POWs(Prisoner's 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?
This show featured a viewpoint that was alien to the whole 3 cultures. It didn't feature the omneity complex of narrative that is usually in all Cold War dramas, the change attracted the international audience. This failed in Germany as some stated it featured inaccuracies and wasn't the accurate representation that they had hoped for. It also features the audience pleasure of surveillance. It makes people learn about the Cold War, which is what some people would want to do, but the audience are being educated in an entertainment viewpoint, that may be fictional but does portray some historical accuracy in the narrative.
4) What does the article suggest about subtitling?
Subtitling helps us focus on the show than lose interest as we can be easily distracted in the multiple-screen era.
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.
1) What are the traditional lengths for TV drama and what dictated these programme formats?
The lengths are 60, 30 and 15 minutes, and are designed around hours and half-hours as they make programmed easier find in scheduling. A license fee advert offers an uninterrupted 59 minute episode but a commercial network has a script of 46 minutes broken into 3/4 parts with ads.
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
Drama narratives need cliffhangers that instantly want the audience wanting more and more of the show. Shows in these online platforms are released with all the episodes in one go than them being released the traditional wait of a week. The themes in the shows have to resonate in many places as the audience using streaming services tend to be younger.
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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