Television industry contexts: Blog tasks

 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?

It suggests that in the past, people who watched subtitled foreign shows were seen as a bit pretentious or niche.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Walter Iuzzolino says the main appeal is strong storytelling — shows that are already big hits in their own countries.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
It suggests subtitles actually help because they force people to focus more, instead of getting distracted by phones.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?

Viewers enjoy seeing different cultures, places, and ways of life, which makes the shows feel fresh and interesting.
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?
Deutschland 83 first aired in the US in June 2015, then in Germany five months later, and later in the UK on Channel 4 in January 2016.
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?
In Germany, it started with about 3.19 million viewers and dropped to around 1.63 million by the final episode. On Channel 4 in the UK, it reached about 2.13 million viewers at its peak.
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October? 
The companies are SundanceTV and FremantleMedia, and they announced in October that the show would return for a second series (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 uses social media by posting recommendations (like “Weekend Picks”) and interacting with viewers. He suggests this helped make foreign shows feel more accessible and less “elite” in the UK.

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? 
UK public service broadcasters like the BBC and Channel 4 are struggling to keep up with big streaming companies. They don’t have enough money to make expensive TV dramas and are having to cut back or rely on co-productions.
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 global premium TV market peaked at about £5.1 billion and has dropped to around £3.4 billion in recent years.
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? 

4)High-end TV shows can cost up to about £5 million per hour. This is a challenge because UK broadcasters can’t afford these costs, so they can’t compete with streaming giants. Look at the end of the article. Why is there still an optimism about the British TV industry?

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?
Hesmondhalgh argues that since the 1980s, the creative industries have become more commercial, more global, and increasingly controlled by a few large companies.
2) What is technological convergence? 
Technological convergence is when different types of media (like TV, internet, and mobile) come together on the same platforms or devices.
3) How are technology companies challenging traditional broadcasters in the TV industry?
Technology companies challenge traditional broadcasters by offering on-demand viewing, using data to target audiences, and distributing content globally.
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 example is Netflix making shows designed for international audiences, not just one country, so they can succeed worldwide.