Industry context

 To finish our work on television, we need to complete some tasks exploring industry contexts around foreign-language TV, the changing audience for television and how streaming impacts the way audiences consume TV. Indeed, when answering these questions, consider the issues from both an audience and industry perspective.

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?

Foreign-language media were only watched by pretentious, dull and odd people.

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

Its flagship show Deutschland 83 will premiere on Channel 4 on 3 January, while other shows will appear on More4. 

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

it suggests that the rise in foreign language products made people more used to subtitles and want it on more often.

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

Diversion, Surveillance, personal identity.

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 was released on US network before German.

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?

1st episode: 3.19 million

Last episode: 1.63 million

Channel 4: 2.13 million

3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October? 

SundanceTV and FremantleMedia 

They announced that there will be a second series of d83, called Deutschland 86.

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?

Iuzzolino posting a “Weekend Pick” on his Facebook page and engaging with viewers on Twitter, it’s impossible not to become engrossed in the experience

 In the UK subtitled and foreign productions are “relegated to the elite” and the art-house.

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 had a major pay-cut because of the lack of funds due to less due to less people watching it and mainly using streaming platforms.

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? 

5.1 billion to 2 billion but 3.4 billion last year.

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? 

1 million pounds per hour but it dropped by a 1/4 to the lowest since 2019.

They can't keep up that pay because they aren't getting the correct funds to process it they had to cut it.

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

Last year the government announced a new enhanced tax credit for independent film productions up to £15m, to support a sector that has produced lower-budget films.

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?

Because of the rise in technology companies were able to improve their productions and became considered "media companies"

2) What is technological convergence? 

The merging of technologies that allows us to access previously inaccessible technologies on one device.

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

They are producing their own products and shows.

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?
"Netflix and chill"