TV: Industry contexts

 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?

Traditionally, watching foreign-language shows with subtitles was seen as something only intellectuals, or slightly quirky people did. It wasn’t really considered mainstream.

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

He believes the appeal lies in the quality of the storytelling and production. For instance, the platform’s standout show Deutschland 83 premiered on Channel 4 on January 3rd, with more series following on More4.

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

It suggests that with so many foreign shows now available, people have become more comfortable with reading subtitles. In fact, they’ve started to actively enjoy and even prefer them.

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

People are drawn to them for different reasons some use it as a way to escape (diversion), to learn more about other places and cultures (surveillance), and to see characters or stories that they can personally relate to (personal identity).

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?

Interestingly, the show aired in the U.S. before it premiered in Germany, which is quite unusual for a German-language series.

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, the first episode pulled in 3.19 million viewers, but that dropped to 1.63 million by the final episode. In the UK, Channel 4’s broadcast reached around 2.13 million viewers which is quite impressive for a subtitled drama.

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

SundanceTV and FremantleMedia were the main players behind the show. In October, they announced a follow-up series called 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?

He stays very active on platforms like Facebook and Twitter and likes sharing his “Weekend Picks” and chatting with viewers therefore, creating a more personal experience. This kind of engagement has helped foreign language shows feel less niche and more accessible in the UK, moving beyond the old image of being "just for art-house fans."

The Guardian: How Britain's TV industry is struggling in the streaming era


1) What is happening to UK public service broadcasters like the BBC and Channel 4 when it comes to TV drama? 

They’re facing big budget cuts because more viewers are switching to streaming services instead of watching traditional TV. That means less money is going into making new dramas.

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? 

At their peak, global premium TV budgets hit around £5.1 billion, but they’ve since dropped to around £2 billion, although, last year saw a slight recovery to £3.4 billion.

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? 

Big-budget TV dramas typically cost about £1 million per hour to produce. But since UK broadcasters are getting less funding, it’s become harder for them to afford those kinds of productions.

4) Look at the end of the article. Why is there still an optimism about the British TV industry?

There’s some optimism because the UK government recently introduced a new tax credit for independent films with budgets up to £15 million, which should give a boost to homegrown productions especially lower-budget ones.

Media Magazine: Netflix and the Cultural Industries 

1) What does David Hesmondhalgh argue with regards to how the creative industries have changed since the 1980s?

He explains that thanks to technological advances, many companies that started in tech have evolved into media giants which is changing the landscape of the creative industries.

2) What is technological convergence? 

It’s when different technologies come together on a single device, like how we can now stream TV, browse the internet, and play games all on a smartphone or smart TV.

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

They’re no longer just platforms, companies like Netflix are now creating their own original content, which puts them in direct competition with traditional TV broadcasters.

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?

A great example is how Netflix produces shows with international appeal like with the global popularity of the phrase "Netflix and chill." It shows how the brand and its content have become part of everyday culture around the world.