The rise in foreign language tv

Television industry contexts: Blog tasks

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?

"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. Skip to today and foreign-language dramas aren't even on-trend, they're fully mainstream. Now we are as likely to discuss the latest Danish thriller over a morning flat white at our desks as we are a new season on HBO."

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

"The channels were "restaurants who had put a special on the board". Walter Presents makes the specials board the main offering – so you can't play safe with the televisual equivalent of a cottage pie."

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

"There may be something else in foreign TV's new popularity, too. It may sound prosaic but when 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." And while foreign-language dramas are often remade for the Anglo-American market – Prisoners of War, or Hatufim in the original Hebrew, became Homeland, The Bridge became The Tunnel etc – the originals still dominate because they have something else: the locale that is such a fundamental part of their appeal. "We all love getting that insight into a different culture," says Deeks. "The unfamiliar setting gives a freshness to genre pieces."

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

"Luzzolino agrees. "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."

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?

"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?

"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 — its 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). What with its lacklustre 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. 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."

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?

"Even if you’re weary of foreign drama, with 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. As Iuzzolino says, in the UK subtitled and foreign productions are “relegated to the elite” and the art-house. His streaming service has certainly changed this perception in Britain.  For America audiences, it’s not so much filling a gap (Iuzzolino and his co-founders Jo McGrath and Jason Thorp in fact modeled the service on big networks like HBO) than promoting what is readily available."

The Guardian: How tech is changing television

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) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
The streaming services are wanting to include “choose your own adventure” where the audience might decide whether someone turns left or right in a maze showing their idea of incorporating technology into quality TV drama.

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

To lure the audience back to next weeks episodes and keep them entertained with many plot twists.

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

Economics of production made sure that dramas are usually shot in blocks in order to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is filming, another team is prepping the next section. So, while a streamed drama theoretically need not be divided at all, it still makes logistical and financial sense to hire on episode basis.

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

Permanent 24/7 connectivity has radically altered viewer responses. Live-tweeting by audiences has usefully democratised criticism, but the downside of this new media interaction has been in giving the old media a stick with which to beat broadcasters.

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 has some interesting arguments about how the creative industries have changed since the 1980s! He suggests that there has been a shift towards a more commercial and market-driven approach, with increased emphasis on profit and globalization. He also highlights the growing role of technology and digital platforms. It's fascinating to see how these changes have shaped the creative landscape.

2) What is technological convergence? 

Technological convergence is when different technologies come together and merge into a single device or platform.

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

Technology companies are shaking things up in the TV industry. They're challenging traditional broadcasters by offering streaming services and on-demand content. Companies like Netflix, Amazon Prime Video, and Hulu are providing a wide range of shows and movies that you can watch anytime, anywhere. They're changing the game by giving viewers more control over what they watch and when they watch it.

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 mentions an example from Netflix called "Dark." It's a German TV series that gained international popularity. The show was not only successful in Germany but also resonated with audiences around the world. This demonstrates how producers are now considering the global audience and creating content that can be enjoyed by people from different countries.