The rise of foreign-language TV: Blog tasks

The rise of foreign-language TV: Blog tasks

1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
Fifteen years ago, if you'd mentioned to a colleague that you'd spent Saturday night glued to a subtitled European drama, you'd have been quietly declared pretentious, dull and, possibly, a little odd.

2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Iuzzolino suggests that the key appeal for his Walter Presents series is the material. He implies that the content of the dramas selected offer the chance for audiences to share stories and unite over their experiences with topics such as: love, death, politics and violence - all of which are considered to be universal themes.

3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
It claims that the Subtitles are what makes the film so thrilling and intense to watch. It sometimes gives us more meaning than the dialogues ever could. 

4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Personal identity is shown in the foreign TV drama shows since the audience are able to relate to the place or character. Also if the foreign TV show is the same language as your mother tongue, you will feel more connected to the show emotionally and physically. 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?
There's an example of TV drama Sherlock have been influenced by their Asian fan base. In order to keep their fans entertained they put different  codes and clues to the story line in order to make the drama more relatable for them. 
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?
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. 

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?
As previously mentioned, the German premiere had 3.19 million viewers. Each new episode saw that figure drop, and by the series’ conclusion the figures had fallen down to 1.63 million — it’s lowest figure.

3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
After a period of uncertainty surrounding its renewal, SundanceTV and FremantleMedia finally announced in October that there will be a second series of Deutschland 83 (called Deutschland 86, more likely than not followed by the pivotal year of 89). 

4) What does the article suggest was the driving force behind the series being renewed for a new season (and possibly two new seasons)?
With this foreign drama revival spurred on by the series’ foreign viewers, questions surrounding the power of American/UK audiences and critics arise. The spy thriller’a presence in American television signifies that there is not just room for foreign and subtitled drama in an era when TV shows are frequently becoming more daring than feature films, but that audiences both want it and have an impact into whether it comes back.

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?
"Whilst Sundance TV provides their viewers with numerous foreign dramas, the TV channel and its streaming service also ventures into English language series as well as feature-length films. Like with the foreign dramas and films on Netflix, Amazon Prime, and so on, they are often surrounded by more familiar and/or promoted English-speaking shows."- Film School Rejects  
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?

2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the 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?

4) What does the article suggest about subtitling?

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. 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?

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

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

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

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