The rise of foreign-language TV
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?
The article suggests that when you read subtitles, you have to be glued to the screens especially for foreign language dramas. The writer states that concentration gives a particular intensity to the viewing experience. The article states "the unfamiliar setting gives a freshness to genre pieces" and that audiences "love to get an insight into different cultures."
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
The fact that it is multicultural and that the shows unite people from all over the world. Walter Presents is known for it's diversity and "it doesn't matter where you come from, in the end 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 they are quite popular because people are glued to their screens in order to read the subtitles and understand whats going on. The subtitles increase your concentration and you won't be distracted by your phone or anything else.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Foreign TV dramas provide audience pleasures such as : diversion, surveillance, personal identity and personal relationships.
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?
TV companies inform others about the production process through social media as audiences are quite active on Twitter or Facebook.
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 premiering on AMC Network's Sundance TV in June 2015 and was the first German language series to premiere on a US Network. Germany's commercial channel received Deutschland 83 five months after the US premier signifies the global appeal as well 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?
First episode - 3.19 million
Last episode - 1.63 million
Channel 4 - 2.13 million - highest rated foreign TV drama
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
Sundance TV and FremantleMedia announced in October that there will be a second series of Deutschland 83 and will be 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 UK's record breaking viewership are the reason why the show has been renewed.
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?
Luzzolino would engage with people by posting on his Facebook page and Twitter for example his 'weekend pick'. His streaming service has changed the perception that 'subtitles and foreign productions are relegated to the elite and the art house' in Britain.
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 tends to be culturally specific and tailored to domestic tastes. TV gets 'piped' into your homes while Hollywood studios are increasingly in the business of making films that have as much if not more appeal abroad than in the US.
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 experience of and the idea of prisoners of war, which he called an 'open wound in Israeli society', but that for the US, the emphasis was on 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 rises above these cultural differences because it successfully told a story about real life events that happened with excitement and action. I think people in Germany didn't link this show as much because it reminds them of difficult times and for them might not be the whole truth presented.
4) What does the article suggest about subtitling?
Americans are used to sharing their stories with the rest of the world and are not used to dubbing or subtitling. When you live in France and Germany you are accustomed to having American TV dubbed or subtitled because that is how they fill their programming hours.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
People loved to learn about how other people live and like to become invested with the characters. They become so interested that they feel as though they are apart of the show.
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?
A California-based network Twitch which first was a gaming site but now has moved on to original programming is exploring the possibility of viewer influenced TV dramas. Kevin Lin the boss says that studios would script a drama to be performed live and at certain points it could go into different directions whether be scripted or improvised. In reality TV formats, the audience would decide what happens and that technology incorporated into quality tv drama is exciting.
Commercial network mandates a script of 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?
Streaming services now wait until all the episodes can be watched as a box set. Netflix want people to watch their show straight away, so the hooks at the end of every episode are important. With streaming you can get straight on with every episode instead of sitting through a recap.
Amazon is working on 'choose your own adventure' shows and it is an example how technology is changing storytelling.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
They need cliffhangers in order to lure back the audiences for next week and they must conjure successive shocks to maintain suspense through the adverts.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
Dramas are usually shot in blocks in order to maximise the use of time, and minimise the cost of actors and crew. So while a drama is being filmed, another team is prepping the next section. This is financially beneficial for episodes to be 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.
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?
The article suggests that when you read subtitles, you have to be glued to the screens especially for foreign language dramas. The writer states that concentration gives a particular intensity to the viewing experience. The article states "the unfamiliar setting gives a freshness to genre pieces" and that audiences "love to get an insight into different cultures."
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
The fact that it is multicultural and that the shows unite people from all over the world. Walter Presents is known for it's diversity and "it doesn't matter where you come from, in the end 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 they are quite popular because people are glued to their screens in order to read the subtitles and understand whats going on. The subtitles increase your concentration and you won't be distracted by your phone or anything else.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Foreign TV dramas provide audience pleasures such as : diversion, surveillance, personal identity and personal relationships.
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?
TV companies inform others about the production process through social media as audiences are quite active on Twitter or Facebook.
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 premiering on AMC Network's Sundance TV in June 2015 and was the first German language series to premiere on a US Network. Germany's commercial channel received Deutschland 83 five months after the US premier signifies the global appeal as well 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?
First episode - 3.19 million
Last episode - 1.63 million
Channel 4 - 2.13 million - highest rated foreign TV drama
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
Sundance TV and FremantleMedia announced in October that there will be a second series of Deutschland 83 and will be 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 UK's record breaking viewership are the reason why the show has been renewed.
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?
Luzzolino would engage with people by posting on his Facebook page and Twitter for example his 'weekend pick'. His streaming service has changed the perception that 'subtitles and foreign productions are relegated to the elite and the art house' in Britain.
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 tends to be culturally specific and tailored to domestic tastes. TV gets 'piped' into your homes while Hollywood studios are increasingly in the business of making films that have as much if not more appeal abroad than in the US.
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 experience of and the idea of prisoners of war, which he called an 'open wound in Israeli society', but that for the US, the emphasis was on 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 rises above these cultural differences because it successfully told a story about real life events that happened with excitement and action. I think people in Germany didn't link this show as much because it reminds them of difficult times and for them might not be the whole truth presented.
4) What does the article suggest about subtitling?
Americans are used to sharing their stories with the rest of the world and are not used to dubbing or subtitling. When you live in France and Germany you are accustomed to having American TV dubbed or subtitled because that is how they fill their programming hours.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
People loved to learn about how other people live and like to become invested with the characters. They become so interested that they feel as though they are apart of the show.
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?
A California-based network Twitch which first was a gaming site but now has moved on to original programming is exploring the possibility of viewer influenced TV dramas. Kevin Lin the boss says that studios would script a drama to be performed live and at certain points it could go into different directions whether be scripted or improvised. In reality TV formats, the audience would decide what happens and that technology incorporated into quality tv drama is exciting.
Commercial network mandates a script of 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?
Streaming services now wait until all the episodes can be watched as a box set. Netflix want people to watch their show straight away, so the hooks at the end of every episode are important. With streaming you can get straight on with every episode instead of sitting through a recap.
Amazon is working on 'choose your own adventure' shows and it is an example how technology is changing storytelling.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
They need cliffhangers in order to lure back the audiences for next week and they must conjure successive shocks to maintain suspense through the adverts.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
Dramas are usually shot in blocks in order to maximise the use of time, and minimise the cost of actors and crew. So while a drama is being filmed, another team is prepping the next section. This is financially beneficial for episodes to be 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.
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