The rise of foreign-language TV: Blog tasks
To continue our work on Deutschland 83, we need to read a range of articles on the foreign-language TV phenomenon. When answering the 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. 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?
Regarding the traditional audience for foreign-language subtitled media the article suggests that "foreign language dramas aren't even on-trend, they're fully mainstream"
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Walter Iuzzolino suggests that that the key appeal of his audience is "truthfully, I think it's simply down to the material," says Iuzzolino. "What filtered in before was mostly for a small, dedicated community of people who loved their intellectually complex cinema. Now we see shows that are populist and successful; we're tasting what people like us love in other countries, not something niche. Plus there was the advent of the 'box-set binge' as Netflix and others transformed how we watch TV."
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
The article suggests that subtitles are popular in multi-screen because "we're frequently distracted from our TV viewing by Twitter feeds and a pinging WhatsApp, subtitles are a welcome enforcement for us to focus. "When you read subtitles, you have to be glued to the screen," says Deeks. "That concentration gives a particular intensity to the viewing experience. You just can't multitask when you're watching a foreign-language drama."
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
'"You develop a love for the distant world because while you're watching, you're in Sweden," he says. "If you see something amazing set in Argentina, then Argentina itself, the houses, the people, what they wear, what their voices sound like, the language, is one of the biggest appeals. There is a huge pleasure in that."
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?
Examples that are provided of how TV companies are increasingly using audiences to inform the production process by stating that "China's 98 million online fans of Benedict Cumberbatch and Martin Freeman's Sherlock Holmes and John Watson, or "Curly Fu" and "Peanut" as they are affectionately known in the enormous, unofficial Asian market (the Chinese Central Television network bans the show), are in for a special treat tonight. When the new special episode, "The Abominable Bride", is finally aired, one clue will only be decipherable to Chinese speakers.'
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?
The article tell us Deutschland 83's release that "Premiering on AMC Network’s Sundance TV in June 2015, the show was the first German-language TV series to premiere on a US network. The fact Germany’s commercial RTL channel received Deutschland ’83 five months after the US both signifies the series’ global appeal as well as foreshadows where the German crime thriller was (and is) to find its audience."
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?
The German viewing figures for the first viewing in Deutschkand 83 was "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. The majority of German audiences did not like neither the show nor its premise, with the Guardian‘s Philip Oltermann observing the Cold War politics and “cool and sexy” style as factors that distanced them from the series. 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?
The two production and distribution companies behind Deutschland 83 and what did they announce in October was "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)?
The driving force behind this was "What with its lackluster response in Germany, it’s apparent the US critical reception and UK’s record-breaking viewership have a role to play in renewing 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?
Walter Iuzzolino uses social media to engage audiences in new international TV dramas by posting a weekend picture on Twitter or Facebook.
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?
The article suggests that the difference between TV and film is that TV tends to be more culturally specific, and allows to portray different cultures, while a film is more appealing to an audience.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
The differences were that the return of the soldiers experiences were emphasised much more in Prisoners of war through a agent who was doing this.
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 was able to provide cultural differences and was successful because there was a sense of complexity within the drama and which attracted international audiences. Furthermore, the drama portrayed historical events within the war time which enhanced the audiences as it provides surveillance for them. (They are learning something about the past).
4) What does the article suggest about subtitling?
The article suggests that 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?
Walter Iuzzolino uses social media to engage audiences in new international TV dramas by posting a weekend picture on Twitter or Facebook.
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?
The traditional lengths of TV dramas are between 45-60 minutes long and some may have adverts in between them, but this is determined by the licence fee funding permits or different commercial networks.
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
The streaming networks such as Netflix or Amazon Prime have changed the way narratives are constructed as now you can get more instant episodes and dramas and watch them whenever you want as there is no fixed set time. There is also catch up viewing as there is less of a chance that audiences will miss something as there is a seismic shift because producers are changing content.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
The rise in streaming has lead to more complex storylines and an increase in cliff-hangers because there is greater dramatic complexity as there be count downs in between or adverts which increase audiences expectations as a results and they want to continue to watch. This also enable to maintain suspense through the use of cliffhangers and conjure successive shocks.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
The "economics of production" kept TV drama largely sticking to the 45-60 minute episode format because the show has been shot in blocks, so this maximises the use of time, and minimises the cost of actors and crew, while part of a drama is continued, the other set is being created. This affects the structure of the show.
5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
"Permanent 24/7 connectivity" has changed both production and consumption of TV dramas because 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 the TV 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. Answer the questions below:
1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
Regarding the traditional audience for foreign-language subtitled media the article suggests that "foreign language dramas aren't even on-trend, they're fully mainstream"
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Walter Iuzzolino suggests that that the key appeal of his audience is "truthfully, I think it's simply down to the material," says Iuzzolino. "What filtered in before was mostly for a small, dedicated community of people who loved their intellectually complex cinema. Now we see shows that are populist and successful; we're tasting what people like us love in other countries, not something niche. Plus there was the advent of the 'box-set binge' as Netflix and others transformed how we watch TV."
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
The article suggests that subtitles are popular in multi-screen because "we're frequently distracted from our TV viewing by Twitter feeds and a pinging WhatsApp, subtitles are a welcome enforcement for us to focus. "When you read subtitles, you have to be glued to the screen," says Deeks. "That concentration gives a particular intensity to the viewing experience. You just can't multitask when you're watching a foreign-language drama."
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
'"You develop a love for the distant world because while you're watching, you're in Sweden," he says. "If you see something amazing set in Argentina, then Argentina itself, the houses, the people, what they wear, what their voices sound like, the language, is one of the biggest appeals. There is a huge pleasure in that."
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?
Examples that are provided of how TV companies are increasingly using audiences to inform the production process by stating that "China's 98 million online fans of Benedict Cumberbatch and Martin Freeman's Sherlock Holmes and John Watson, or "Curly Fu" and "Peanut" as they are affectionately known in the enormous, unofficial Asian market (the Chinese Central Television network bans the show), are in for a special treat tonight. When the new special episode, "The Abominable Bride", is finally aired, one clue will only be decipherable to Chinese speakers.'
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?
The article tell us Deutschland 83's release that "Premiering on AMC Network’s Sundance TV in June 2015, the show was the first German-language TV series to premiere on a US network. The fact Germany’s commercial RTL channel received Deutschland ’83 five months after the US both signifies the series’ global appeal as well as foreshadows where the German crime thriller was (and is) to find its audience."
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?
The German viewing figures for the first viewing in Deutschkand 83 was "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. The majority of German audiences did not like neither the show nor its premise, with the Guardian‘s Philip Oltermann observing the Cold War politics and “cool and sexy” style as factors that distanced them from the series. 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?
The two production and distribution companies behind Deutschland 83 and what did they announce in October was "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)?
The driving force behind this was "What with its lackluster response in Germany, it’s apparent the US critical reception and UK’s record-breaking viewership have a role to play in renewing 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?
Walter Iuzzolino uses social media to engage audiences in new international TV dramas by posting a weekend picture on Twitter or Facebook.
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?
The article suggests that the difference between TV and film is that TV tends to be more culturally specific, and allows to portray different cultures, while a film is more appealing to an audience.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
The differences were that the return of the soldiers experiences were emphasised much more in Prisoners of war through a agent who was doing this.
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 was able to provide cultural differences and was successful because there was a sense of complexity within the drama and which attracted international audiences. Furthermore, the drama portrayed historical events within the war time which enhanced the audiences as it provides surveillance for them. (They are learning something about the past).
4) What does the article suggest about subtitling?
The article suggests that 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?
Walter Iuzzolino uses social media to engage audiences in new international TV dramas by posting a weekend picture on Twitter or Facebook.
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?
The traditional lengths of TV dramas are between 45-60 minutes long and some may have adverts in between them, but this is determined by the licence fee funding permits or different commercial networks.
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
The streaming networks such as Netflix or Amazon Prime have changed the way narratives are constructed as now you can get more instant episodes and dramas and watch them whenever you want as there is no fixed set time. There is also catch up viewing as there is less of a chance that audiences will miss something as there is a seismic shift because producers are changing content.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
The rise in streaming has lead to more complex storylines and an increase in cliff-hangers because there is greater dramatic complexity as there be count downs in between or adverts which increase audiences expectations as a results and they want to continue to watch. This also enable to maintain suspense through the use of cliffhangers and conjure successive shocks.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
The "economics of production" kept TV drama largely sticking to the 45-60 minute episode format because the show has been shot in blocks, so this maximises the use of time, and minimises the cost of actors and crew, while part of a drama is continued, the other set is being created. This affects the structure of the show.
5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
"Permanent 24/7 connectivity" has changed both production and consumption of TV dramas because 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 the TV drama.
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