TV - Industry Contexts

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 the traditional audience for foreign-language media would be people interested in history and/or major events/people.

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

The key appeal of Walter Presents is the fact that you're getting the best of the best; handpicked by a professional.

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

Channels were like "restaraunts" that gave you "food" (shows) that the audience was safe/comfortable with. Once those channels started buying and showing foreign-language media, the popularity of them started to rise exponentially as audiences recieved these shows from sources they were otherwise comfortable with.

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

Material, celebrities, etc.

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?

- It first premiered in 2015 on an American channel
- Received 5 months after premire on American channels
- Was not very successful in Germany, audiences kept rising in America

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 viewing figures:
- First episode: 3.19 million viewers 
- Last episode: 1.63 million viewers

Channel 4 (UK) viewing figures:
- Peak viewership: 2.13 million viewers
- Noted as 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? 

Production and distribution companies:
- SundanceTV
- FremantleMedia

- In October, they announced that there'd be a sequel to Deutschland 83, titled Deutschland 86, with a possible third installment covering the year 1989.

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 posts a “Weekend Pick” on his Facebook page

- He engages with followers on Twitter

- The impact on reception in the UK helped shift the perception of subtitled and foreign productions from being “relegated to the elite” or art-house audiences

- His TV show, Walter Presents, has changed the perception on foreign drama, making them more accessible and appealing to a wider UK audience

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? 

- They've been shelving premium projects due to lack of funds
- They've struggled to fund high-end TV dramas

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 premium TV market reached a value of £5.1 billion, with nearly 160 productions funded or co-funded by streamers.​

- The market has declined to £3.4 billion as streamers have reduced spending to focus on profitability. 

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 costs can be as much as £5m/hour

- Public service broadcasters face difficulties in funding such expensive productions

- Factors include a downturn in advertising revenue, rising UK inflation, and, for the BBC, a frozen licence fee; these financial pressures have led to reduced commissioning of high-end dramas

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

- Despite current challenges, industry leaders believe the UK continues to produce high-quality drama
- The global demand for British content remains strong, with expectations that international sales will rebound in the coming years
- There is a focus on resetting the industry to build sustainable production models

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 since the 1980s, creative industries have been taken over by a small number of large companies. These companies work across different types of media and focus on managing risk, being efficient, and making a profit. This has led to companies focusing on profit much more rather than creativity.

2) What is technological convergence? 

Technological convergence refers to the way previously separate technologies, like television, film, radio, and the internet, are coming together due to digital innovation.

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

Tech companies that provide on-demand services, like Netflix, are challenging traditional broadcasting by providing users what they want to watch whenever they want to watch.

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 uses the Netflix series Narcos as an example. It shows that the show was designed for people all over the world. This includes having the dialogue in two languages, Spanish and English, and a story that is interesting to people outside the US. It reflects Netflix's strategy to make global, accessible content that can succeed anywhere.