TV: The rise of foreign-language television

TV: The rise of foreign-language television

The rise of foreign-language TV: Blog tasks

To continue our work on Deutschland 83, we need to read a range of articles on the foreign-language TV phenomenon. When answering the 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. 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 you'd be considered "pretentious , dull and possibly a little odd" however nowadays the audience is part of the mainstream.

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

He says that you develop a love for the foreign world, as you're enveloped in the language and culture.

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

It suggests that subtitles force the viewer to put all their focus into watching the show, as you can't multitask in order to understand the plot. "When you read subtitles, you have to be glued to the screen,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?

Shows usually explore the cultures of their countries, as well as the general setting and language appealing to audiences.

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?

Sherlock was influenced by the massive Chinese fan base by referencing and acknowledging their nicknames. Sherlock's internet presence is huge, and so producers are finding ways to acknowledge their fans.


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?

The German viewing figures for the first episode was 3.19 million viewers and the last episode was 1.63 million, and Channel 4's viewing figures for Deutschland 83 was 2.13 million viewers.

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

SundanceTV and FremantleMedia finally announced in October that there will be a second series of Deutschland 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 US critical reception and the UK's record breaking viewership.

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?

Iuzzolino posts a "Weekend Pick" on his facebook page and engages with viewers on twitter. This engrosses the audience in experience.

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?

It suggests that TV is constantly evolving and tends to be specifically tailored to domestic tastes. Films don't have such obligations.

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 an “open wound in Israeli society,” but 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 believe that the fact that there were cultural differences meant that for Uk and US audiences, the dramatisation of the events were easier to be entertained by as it doesn't hit as close to home as it would a German audience.

4) What does the article suggest about subtitling?

"People's perception of subtitle films , let along subtitle TV shows, is that they're really hard work - and somewhat obscure"

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

Steven Van Zandt suggests that the appeal in foreign television drama is that you learn how other people live, and people love that.


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?

The three most frequent lengths of TV and radio programming - referred to on commissioning forms as 60', 30', 15' - arose from grid schedule designed around hours and half an hours 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?

Importance of hooks at the end of the episodes have increased importance, due to the fact that audiences can choose to watch the entire show right away. Narratives in general have changed in order to anticipate streaming; things like recaps at the beginning of episodes aren't present for streaming video on demand.

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

Commissioners used to have this idea that the audience was so fragile and fickle that you had to be careful how complex your story was. Now you can binge narratives in one go so engaging the audience is even more important.

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

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.

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, but the downside of this new media interaction has been in giving the old media a stick with which to beat broadcasters. Stories about alleged outrage over incomprehensible actors or violent action often turn out to be based on the fact that, from among millions of viewers, a tiny handful tweeted disagreeably."