TV: The rise of foreign-language television

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?
The traditional audience for foreign-language subtitled drama is people who love getting an insight into a different culture. "The unfamiliar setting gives a freshness to genre pieces." 
It is also relevant for diverse groups around the UK, making it easy for immigrant communities to access original content from their home countries.

2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
The fact that it is "urban, real and multicultural." The world has become smaller due to globalisation and migration, and Walter Presents is a show that unites all parts of the world because, at the end of the day, it doesn't matter where you are from "all human stories are about love, betrayal, life, death, violence, politics: the themes are universal."

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 subtitled drama is becoming more popular due to the fact that you cannot become distracted while watching them. Subtitled dramas require 100% concentration the entire time (or else you may miss an important part of the show). Therefore, audiences refrain from checking their phones while watching the drama, meaning that they are extremely indulged in to what they are watching. "That concentration gives a particular intensity to the viewing experience."

4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Foreign TV dramas provide audiences with new, innovative content that allows the audience to learn new things about the country they are watching. Audience pleasures include diversion and surveillance. (Blumler and Katz) 

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?
Audiences use social media to inform others about certain new TV shows or news.

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 was not only the first German series to premiere on a US network, but it was also released in the US five months before it was released in Germany. This signifies the series’ global appeal as well as foreshadows where the fans of the German crime thriller reside.

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-
1st episode- 3.19 million viewers
Last episode-  1.63 million viewers

Channel 4 saw viewing figures reach a peak of 2.13 million viewers in a prime time TV slot, earning it the title of 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?
SundanceTV and FremantleMedia announced in October that there will be a second series of Deutschland 83 (called Deutschland 86)

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 large viewing figures from America and the UK are the main reason for a possibility of two new seasons being released. 

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 uses Facebook and Twitter to regularly engage with his audience and provide them with new, foreign-TV content. An example is the “Weekend Pick” on his Facebook page.

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?
TV and film are very different because, while film tends to focus on telling a story in a short space of time, TV tends to feel culturally specific, tailored to domestic tastes. TV is more detailed and allows the audience to create stronger relationships with the characters.

2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
The original series focused on the experiences of and the idea of prisoners of war, which he called an “open wound in Israeli society,” but that for the U.S. the emphasis was on the agent investigating the returned soldier, on a more American issues of distrusting the government and of a fears of agents among us.

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?
I think Deutschland 83 was able to rise above these cultural differences because it tells a story of history with action and excitement. This might have caused it to fail in its own country due to the fact that Germans may have seen the period of 1983 as a difficult time that isn't rightly expressed with drama and action.

4) What does the article suggest about subtitling?
The article suggests that Americans and British people are not used to subtitles. In foreign countries, almost everything is subtitled or dubbed as broadcasters fill their slots with American/British content.

5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
You learn about the way other people live. You become so indulged in to the drama that you feel like you are there. You have travelled to another part of the world.

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?
46 minutes that is broken three or four times for ads.

2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
Netflix and Amazon Prime have led TV drama narratives becoming more thought out because of the fact that people can watch the whole season in one sitting.

3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
They have led to more complex storylines and an increase in cliffhangers because the writers have to conjure successive shocks to maintain suspense throughout the episode or the adverts.

4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
TV 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. It is the most financial benefit to keep episodes in this format.

5) 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 and enjoyment.