Industry contexts

 

INDUSTRY CONTEXTS

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?

- It premiered on AMC Network's Sundance TV in June 2015.

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?

- Germany went from 3.19 million to 1.63 million viewers.

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

- SudanceTV and FremantleMedia.

- They announced there would be a second series of Deutschland 83.

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 promotes foreign drama on it's own terms viewers can pick and choose from the most popular productions from around the world.

The Guardian: How tech is changing television

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

- Amazon are working on "choosing your own adventure" shows.

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

- “Your form of storytelling has to reflect the fact that people could watch [the whole series] straight away. So the hooks at the end of every episode are very important. But you also have to think about how you give information. With a thriller for terrestrial TV, you tend to have a recap at the start of each episode. But, with SVOD [streaming video on demand], you can get straight on with the story.”

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

- License fee funding permits a 59-minute uninterrupted, while advertising on a commercial network mandates a script of 46 minutes that is broken three or four times for ads.

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

- 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 

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.

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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.

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?

- Foreign-language dramas aren't even on-trend, they're fully mainstream.

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

Walter Iuzzolino suggests that the key appeal of his 'Walter Presents' shows is their unique storytelling and immersive narratives. He curates a collection of international dramas that offer fresh perspectives and captivating storylines.

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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 in the multi-screen age, subtitles have become more popular because they allow viewers to multitask while watching TV. With subtitles, you can follow the dialogue without having to fully focus on the screen. This is especially helpful when people are watching TV on their phones or tablets while doing other things. Subtitles make it easier to keep up with the story even when you're not giving your full attention to the screen.

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

The article suggests that foreign TV dramas offer several pleasures to audiences. One pleasure is the exposure to different cultures and perspectives. Watching shows from other countries allows viewers to experience different customs, traditions, and ways of life. It's like taking a virtual trip around the world and expanding your horizons. Another pleasure is the unique storytelling and fresh narratives that foreign TV dramas often bring. They can offer new and exciting plotlines that differ from what viewers might be used to in their own country.