The rise of foreign-language TV: Blog tasks

The rise of foreign-language TV: Blog tasks

Independent: British viewers can't get enough of foreign-language dramas

1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?

Not many people watched foreign-language shows a few years back but now it's become normal. It's not even a trending genre, it's just mainstream as it so normal for people to now watch foreign-language films/shows.

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

 Imported programming is certainly on the mind of acquisition teams. They stream a lot of foreign-language films and shows which have become popular over the years.

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

It has become more popular ever since people are able to stream it from online as more people have access to it. 

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

The foreign dramas are also created in plenty of different genres and people get to see the different lifestyles in different Countries and traditions.

5) What examples are provided of how TV companies are increasingly using audiences to inform the production process?

Shows such as Sherlock have been influenced by fans; some scenes contain dialogue that only Chinese speaking viewers can understand however the things being said are necessary to understand the plot. 

Film School Rejects: The foreign TV dramas you're missing out on

1) What does the article tell us about Deutschland 83's release schedule?

Deutschland 83 didn't receive as much viewers in the US than in Germany. However it became more popular in the US than in Germany eventually after they premiered it.

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 premiere had 3.19 million views which then dropped down to 1.63 million views by the last episode.

Channel 4 saw viewing figures reach to a peak of 2.13 million viewers. 

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

- Sundance TV

- Fremantle Media 

They announced that they will be creating a new series 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)?

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?

Promote the shows on their social media platforms such as Twitter and Facebook.

IndieWire: The rise of international television

1) What does the article suggest regarding the difference between TV and film?

More so than film, TV tends to feel culturally specific, tailored to domestic tastes.

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 make of 'Prisoners of War' focuses on the idea of POWs, which he called an “open wound in Israeli society”. However 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?

It was more successful in the UK and the US as loads of Germans hated the series after watching the first episode because of the way some of them were represented and a lot of them also felt like the information was inaccurate and it wasn't really historical context. 

4) What does the article suggest about subtitling?

Peoples opinions on them are that they're really hard work 'somewhat obscure'.

5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?

'The way to make this more international is to make this more Norwegian'.
The fact that the guy speaks English brings the American audience into the show, and you start to live the show and Norway the way the character does.

The Guardian: How tech is changing television

1) What are the traditional lengths for TV drama and what dictated these programme formats?

The three most frequent lengths of TV and radio programming – referred to on commissioning forms as 60’, 30’, 15’ – arose from a grid schedule designed around hours and half-hours in order to make programmes easy to find. 

2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?

'Your form of storytelling has to reflect the fact that people could watch straight away'. Netflix, notes that the new producers are changing content as well as structure: “The demography of the video platforms is a bit younger, and it’s a global audience. 

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

As producers are now making more effort to create content that viewers would enjoy throughout the series. They are having to create more unique storylines to differentiate themselves and to also keep viewers engaged.

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

Streaming dramas can theoretically last anything from 60 seconds to 60 hours, there has so far been little structural experimentation. Episodes within a series may have unequal lengths. 
It turns out, results not from creative conservatism but – as with Greene’s rationed narratives – from the economics of production.

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

It has radically altered viewer responses. Live-tweeting by audiences has usefully democratised criticism. For most viewers the benefits of self-scheduling, repeat viewing and audience feedback outweigh such disadvantages.