Go to our Media Magazine archive and read the article on Netflix and the Cultural Industries (MM63 - page 45).
1) What does the 'industry' concept in A Level Media Studies refer to?
The ‘industry’ concept refers to the companies that create and distribute media texts, the standard practices of media production, as well as the regulatory and legal frameworks in which the companies operate.
2) What does David Hesmondhalgh argue with regards to how the creative industries have changed since the 1980s?
There's been a significant shift in cultural production. Cultural Industries have moved closer to the centre of economic action. Niche audiences are increasingly targeted and it's easier to access international drama's due to the internet reducing North American domination.
3) Choose the three most significant points Hesmondhalgh makes regarding the changing cultural industries. Why are these the most significant in your view?
• Digitisation has allowed the technology sector to compete directly with traditional media companies
• Niche audiences are increasingly targeted.
• Globalisation has meant media texts can circulate more easily across borders reducing North American dominance
I think the most important is the fact that they can challenge traditional media companies as we are used to them being the norm. If streaming services beat these traditional companies, we could be accustomed to the idea of streaming being the only and NORMAL way of watching media products.
4) What is technological convergence?
The combination of media products so that they can be accessed on new and emerging devices. For example, Smart TV can replace normal, older TV's as they are dated and can disrupt the market.
5) How are technology companies challenging traditional broadcasters in the TV industry?
Tech companies like Google and Facebook utilise their expertise and knowledge to maximise their audience reach and due to the internet, their influence is much greater than traditional broadcasters. Being funded by advertising revenue is a standard model for commercial television and print media (both magazines and newspapers) but because Google and Facebook originally started as technology companies, they’ve avoided being regulated as media companies.
6) What budgets will Netflix, Amazon and Apple spend on original programming next year according to the article?
Netflix - $8bn
Amazon - $4.5bn
Apple - $1bn
7) How many countries are Netflix and Amazon available in?
Netflix - 190
Amazon - 200
8) 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?
How the monster's name from Stranger Things was derived from a lot of translations of the original D&D name.
9) Do you think technology companies such as Google, Facebook and Amazon will increase their interest in the television industry?
They will invest in popular formats of shows. Facebook made 'reality TV' with Watch and Apple is yet to make a similar venture. I think tha, with their expertise, they can dominate the television industry by making it all available online. This is already evident with Apple and Amazon.
10) How do changes in technology influence the creation of TV dramas such as Capital or Deutschland 83? How?
Deutschland 83 was possible as Walter could view the whole box-set of D83 from his living room.The Able Archer documents were also retrieved by technology and the global distribution method through C4 and Amazon Prime shows that it can be successful in other countries. Capital is available to watch on iPlayer which is then available to 'binge watch', done by most of us. Capital is ultimately an adaptation of a book and has therefore undergone transformation with editing and fictionalising and cinematography to provide a realistic and gritty feel to the drama
Monday 30 March 2020
Friday 27 March 2020
TV: The rise of foreign-language television
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?
foreign-language subtitled media was seen as strange and as odd.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
It takes you to a new part of the world with every series.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
"When you read subtitles, you have to be glued to the screen," says Deeks. "That concentration gives a particular intensity to the viewing experience. You just can't multitask when you're watching a foreign-language drama."
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Personal identity as well as a major chunk of diversion. Surveillance can be provided with historical drama.
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 dramas have their dedicated websites, online forums and instant hashtag Twitter responses, and it's a truism to add that the internet has changed the way we watch TV.
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?
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?
Germany went from 3.19 million to 1.39 million from start to end.
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 83 (called Deutschland 86, more likely than not followed by the pivotal year of 89).
4) What does the article suggest was the driving force behind the series being renewed for a new season (and possibly two new seasons)?
Th record breaking viewership as well as the historical importance.
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?
Even if you’re weary of foreign drama, with Iuzzolino posting a “Weekend Pick” on his Facebook page and engaging with viewers on Twitter, it’s impossible not to become engrossed in the 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?
TV is always evolving whereas film has a set guideline to follow.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
“Homeland” is based on Israeli drama “”Hatufim” (Prisoners of War) for legal reasons.
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 think it made it fail in Germany where it fetischisies the working class and caters towards the working class and left wing but it can also reinforce right wing ideologies.
4) What does the article suggest about subtitling?
We’re not used to dubbing or subtitling, really. When you live in France or Germany, you’re really accustomed to having American television and having it dubbed or subbed because that’s how they fill their programing hours.”
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
People love to learn about how other people live. 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, and after a few minutes you forget about the subtitles.
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?
For example, 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. This came from novels and how they were separated. The BBC also states that they have a 59 minute drama whereas commercial broadcasters have only 46 minutes.
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 [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) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
“choose your own adventure” shows. Such developments remain at the far edge of thinking, but are merely an example of how radically digital technology is changing storytelling.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
Shindler explains to me that dramas – regardless of how they will ultimately be screened – are usually shot in blocks. 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. So, while a streamed drama theoretically need not be divided at all, it still makes logistical and financial sense to hire on episode basis.
5) 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.They just punch certain key search terms into Twitter, such as ‘mumbling’, and get a viewer who thought the dialogue was inaudible.
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?
foreign-language subtitled media was seen as strange and as odd.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
It takes you to a new part of the world with every series.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
"When you read subtitles, you have to be glued to the screen," says Deeks. "That concentration gives a particular intensity to the viewing experience. You just can't multitask when you're watching a foreign-language drama."
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Personal identity as well as a major chunk of diversion. Surveillance can be provided with historical drama.
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 dramas have their dedicated websites, online forums and instant hashtag Twitter responses, and it's a truism to add that the internet has changed the way we watch TV.
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?
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?
Germany went from 3.19 million to 1.39 million from start to end.
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 83 (called Deutschland 86, more likely than not followed by the pivotal year of 89).
4) What does the article suggest was the driving force behind the series being renewed for a new season (and possibly two new seasons)?
Th record breaking viewership as well as the historical importance.
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?
Even if you’re weary of foreign drama, with Iuzzolino posting a “Weekend Pick” on his Facebook page and engaging with viewers on Twitter, it’s impossible not to become engrossed in the 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?
TV is always evolving whereas film has a set guideline to follow.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
“Homeland” is based on Israeli drama “”Hatufim” (Prisoners of War) for legal reasons.
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 think it made it fail in Germany where it fetischisies the working class and caters towards the working class and left wing but it can also reinforce right wing ideologies.
4) What does the article suggest about subtitling?
We’re not used to dubbing or subtitling, really. When you live in France or Germany, you’re really accustomed to having American television and having it dubbed or subbed because that’s how they fill their programing hours.”
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
People love to learn about how other people live. 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, and after a few minutes you forget about the subtitles.
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?
For example, 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. This came from novels and how they were separated. The BBC also states that they have a 59 minute drama whereas commercial broadcasters have only 46 minutes.
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 [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) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
“choose your own adventure” shows. Such developments remain at the far edge of thinking, but are merely an example of how radically digital technology is changing storytelling.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
Shindler explains to me that dramas – regardless of how they will ultimately be screened – are usually shot in blocks. 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. So, while a streamed drama theoretically need not be divided at all, it still makes logistical and financial sense to hire on episode basis.
5) 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.They just punch certain key search terms into Twitter, such as ‘mumbling’, and get a viewer who thought the dialogue was inaudible.
Thursday 19 March 2020
Postmodernism & Deutschland 83: blog task
1) Read the section on Strinati's five ways to define postmodernity. What examples are provided of the breakdown of the distinction between culture and society (media-isation)?
Bruno and Borat have more ‘reality’ for film audiences than their creator Sacha Baron Cohen.
The modern rise of celebrities launched through reality television programmes such as Big Brother can be seen as the culture celebrating style over substance. Many celebrities are now famous for being famous rather than for an identifiable talent or ability.
In postmodern culture Andy Warhol created multi-coloured prints of the Mona Lisa (high art) and Campbell’s soup cans
Communism, Fascism, Liberalism and Socialism are some examples of grand narratives that have been
applied in various contexts in the last 100 years. In post modern society it is argued that people no longer believe there are absolute ways to explain reality. Perhaps high profile failures of some grand narratives (like the fall of the Soviet version of Communism in 1989)have led people to question whether it is possible to find an all encompassing ‘answer’ to social and economic problems.
2) What is Fredric Jameson's idea of 'historical deafness'? How can the idea of 'historical deafness' be applied to Deutschland 83?
The media coverage of the Cold War was mainly done through the American (the winning side). There is also loads of the coverage of the actual documents of Able Archer which was used for filming, again done by America.
3) What examples and theories are provided for the idea of 'style over substance'?
Many celebs are famous for being famous rather than having any distinguishable talent such as Reality Shows like Big Brother and Love Island.
People are strongly influenced by branding when buying products. The label sometimes becomes more important than the product itself and packaging more important than the contents. People will pay high prices for products which bear the logo of a fashionable label regardless of the actual quality of the product.
4) What examples from music are provided for the breakdown of the distinction between art and popular culture? Can this be applied to Deutschland 83?
Pop music can be considered to be both high and low brow so putting this in the supermarket scene is a clear example of blurred lines between high and popular culture.
5) What is bricolage? What examples of bricolage can be found in Deutschland 83?
Bricolage is when old and new texts are juxtaposed.
The title scene is an example of bricolage as it is a mixture of new pop art and historic events.
6) How can the audience pleasures of Deutschland 83 be linked to postmodernism? Read 'The decline of meta-narratives' and 'Media texts and the postmodern' to help answer this.
The title scene is an example of bricolage as it is a mixture of new pop art and historic events.
6) How can the audience pleasures of Deutschland 83 be linked to postmodernism? Read 'The decline of meta-narratives' and 'Media texts and the postmodern' to help answer this.
7) Read the analysis of media concepts and postmodern approaches on page 3 of the factsheet. Choose three of the concepts and write an example from Deutschland 83. Clue: genre, representation, ideology and audience would all be good options for this task.
Representation: In West Germany, the public rejects traditional German values as they become more 'Americanised' whereas the East is very traditional and mundane.
The spy montage could be a hint at the genre.
Ideology: Evil acts may be undertaken for a good motive - The scene where Martin was breaking into the General's briefcase can be seen as primarily negative due to the connotations of stealing however it was for the best interest for East-Germany
8) Now look at page 4 of the factsheet. How does Deutschland 83 demonstrate aspects of the postmodern in its construction and ideological positioning?
It reinforces both left and right wing ideologies which is a bit postmodern but the main thing is that it's a costume drama. This makes it susceptible to postmodern twists as it is a period drama which documents a fictionalised version of a real event.
9) Which key scenes from Deutschland 83 best provide examples of postmodernism? Why?
The bench scene with Martin and Tischbier shows just how different the West is to the East and how there are new concepts such as pop and neon art - as shown by the capitalist placement of Martin wearing a Nike shirt when he wakes up in Bonn.
The supermarket scene also provides a sense of postmodernism with a nod to Andy Warhol's tin soup-like shelf design.
10) Why might audiences enjoy the postmodern aspects of Deutschland 83? What audience pleasures might elements of bricolage or pastiche provide viewers?
The viewers might enjoy pastiche as it could provide nostalgia and good memories which might be a reason to watch D83 - this is a personal identity connection as they remember themselves in that specific era. Historians might enjoy this as they think that the hyperreality and bricolage with the documents and title scene will provide a sense of enjoyment as they most of the time accurately represent the 80s in a positive light.
Tuesday 17 March 2020
TV: Deutschland 83 case study
Introduction: Reviews and features
Read the following reviews and features on Deutschland 83:
The Guardian - Your next box set: Deutschland 83
The Guardian - Deutschland 83 Pity the Germans don't like it
1) Find one positive aspect and one criticism of Deutschland 83 in reviews.
"an irresistible export" and “the flop of the year”
2) Why does the second Guardian article suggest the Germans didn't like the show?
It makes the time period seem less serious than it actually was.
3) Find three 'below the line' comments from either of the Guardian articles. What did the audience think of Deutschland 83? Do you agree with the comments?
One on the commentators felt proud initially then found out this German show was written by Americans.
'German series often suffer from poor production value and screenplays are either obsessed with complexity or dull and boring' The audience can be seen to be unimpressed with the poor production value of the show.
was designed to be the big ballsy production that restored German TV’s pride, with the marketing budget to go with it.
Interviews and behind-the-scenes video features
Channel 4 News: Matt Frei interviews Jonas Nay
1) What does Jonas Nay say about growing up in a united Germany?
Jonas says that the Cold War was not as well covered as WW2 in school. As he wasn't alive during the separation - he said that he's like to live in West Berlin as they had more freedom.
2) The Channel 4 News interview is conducted in German with English subtitles. How does this reflect Channel 4's remit as a public service broadcaster and their target audience? (Clue: revise your work on Channel 4 and Public Service Broadcasting here!)
"Channel 4 is a publicly-owned and commercially-funded UK public service broadcaster, with a statutory remit to deliver high-quality, innovative, alternative content that challenges the status quo". - C4 wants to reach out to a bigger, more international audience.
3) Interviewer Matt Frei asks about the current political situation in Germany. Why might this interest the Channel 4 News audience?
C4 has their own News section and much of the refugee crisis was covered on C4 News.
Behind the scenes clips
The All4 website has a range of clips from behind the scenes of Deutschland 83. Watch the following:
Making Of: Why Should You Watch Deutschland 83
Watch this short promotional clip for Deutschland 83.
1) According to the clip, why should audiences watch Deutschland 83?
Anna Le Vine Winger (creator of the show) says = 'Because it is fun, because it is super interesting, because there are great performances, because it is a trip, it's an adventure, and there are a lot of surprises... and it's a journey and you want to go on the journey with these people'.
2) Why is history an important aspect of the appeal of the show?
It's a costume drama set in a real life event but in a fictionalised form. The Cold War was also not covered alot so this provides information as well.
3) What technical aspects are highlighted in the video?
'The cinematography,the costume and the production design are striking. It uses a style that we know from some "event movies". I'd say our mother and fathers paved the way for us'-Jorg Winger (producer)
Making Of: Set Design
Watch this interview with Production designer Lars Lange.
1) Why were the set design, costume and props so important for Deutschland 83?
Because it's a costume drama, the costumes say everything from the time period to the occupation of the character. The set design and props are meant to look like they are from 1983 to give it an authentic feel and to succeed at making a costume drama.
2) How historically accurate was the setting, costume and props?
Lange read the screenplay, then looked at images for perspectives. The setting, costume and props were very historically accurate and there was a lot of research done in preparation about the different cars, computers, building designs and colour schemes that we used in 1983.
3) Why were the props, costumes and music such a key audience pleasure for Deutschland 83?
Without these props, the drama would be very boring and unrealistic. This was set around Able Archer and not having the dated costumes, set design and props to go with it would lose the audiences interest.
Textual analysis: Audience pleasures and representations
We need to consider the audience pleasures of Deutschland 83 alongside various representations created in the first episode.
Type up your analysis from the lesson using the headings below. You may want to watch the key scenes again and develop your notes in further detail - the more specific and memorable your analysis, the better it will serve you when writing an essay on TV drama. Remember, you can watch the episode for free on the All 4 website or on Amazon Prime.
Scene 2: Martin/Moritz first sees the West German supermarket
Production and industry contexts
Deutschland 83 was produced by German production company UFA Fiction and distributed internationally by FremantleMedia International. It was broadcast on RTL (Germany), SundanceTV (US) and Channel 4 (UK) as well as many other broadcasters around teh world.
1) What kind of company is UFA Fiction and what shows have they produced?
According to their website - UFA FICTION stands for qualitative and successful fictional formats in German TV and cinema
Here are some of their most successful shows:
" Deutschland86 " (Amazon Prime Video), " Ku'damm 59 " (ZDF), " The boy has to go to the fresh air " (cinema), " Naked under wolves " (Das Erste), " Danni Lowinski " (Sat.1), " Our Mothers, Our Fathers " (ZDF), " The Medicus " (Cinema) and " I'll be gone then" (Movie theater).
2) What kind of company is Freemantle Media International and what do they produce?
They produce shows that are under these categories: Global Entertainment, Drama and branded entertainment. They've made shows like Price is Right, Family Feud, X Factor and Grand Designs.
3) How does Deutschland 83 reflect the international nature of television production?
It didn't do so well in Germany but it did amazing in the UK and the US. D83 was written by a pair of German writers, produced by German/American companies then is distributed to American and British broadcasters such as Channel 4. D83 encompasses many asoects of an international effort being made.
Walter Presents
Watch this Channel 4 trailer for their Walter Presents international drama.
1) How does Channel 4 introduce 'Walter'?
C4 introduce Walter as some sort of TV drama oracle and that he KNOWS a good drama when he sees one. He then seems like a voice of reasoning and gives a sort of 'star power'/critical assurance that the Walter Presents lineup is worth watching.
2) What audience are Channel 4 trying to appeal to with the 'Walter Presents' series?
They know that he is going to produce great dramas as the trailer shows him glaring at a TV for ages so he has quite a lot of experience by the looks of it.
3) How does the 'Walter Presents' series reflect the changing nature of television in the digital age?
More and more people are owning a device where they can stream videos. C4 wants to attract an international audience so that they can get more streams and revitalise the new, digital age for some PSBs
Marketing and promotion
Trailer
1) What audience pleasures are suggested by the trailer? Think about Uses & Gratifications theory (Blumler and Katz).
Personal Identity- Many Germans feel as if they see themselves reflected in the drama
2) How does the trailer use action and enigma codes (Barthes) to encourage the audience to watch the show?
It shows that the drama is a spy drama due to the many images of him photographing things, looking for things. There is also some action scenes which tell us this is going to be good. Also the countdown could suggest something about war which makes it more watchable for some viewers.
3) The only words heard in the trailer are in English. Why do you think the UK trailer avoided subtitles or German dialogue?
Naturally, Brits are repelled by any language that isn't English. This is also to show that the foreign languages might make them confused as they watch it because don't know it.
Press pack
Read the Channel 4 press pack interview with writer Anna Winger. (If the link doesn't work, you can find the text from the interview here).
1) How did she use the historical context and real-life events to create a successful drama?
Winger says = "The original seed of the idea was based on something that happened to my husband when he was doing his West German military service in the 1980’s. He was a radio signaller in West Germany, listening to the Russian troops in East Germany. Occasionally the Russians would greet him by name. So they knew that he was listening and he knew there must be a mole at his base – but he never figured out who the mole was. It could have been a boss or a colleague. My idea was to tell a story form the point of view of the mole."
2) Anna Winger discusses the use of music. Why might the soundtrack attract an audience?
"Music was key to the story from the beginning. The top 100 songs of 1983 are still on the radio all the time! It was just an incredible year of pop culture and the songs really travelled, maybe because music videos started around that time as well, so there was a visual component for the very first time".
Press release
Read this Channel 4 press release on the success of Deutschland 83. (If the link doesn't work you can find find the text from the article here).
1) List the key statistics concerning audience figures. Why is considered the most successful foreign language drama?
After launching with 1.49 million viewers, the first episode has now consolidated with 2.5 million viewers.
2) How does the news release describe the drama?
International marketing
Look at these two different marketing campaigns - the UK DVD release (left) and the American Sundance TV advert (right).
1) How does the UK DVD cover communicate the sub-genre of the drama?
The font suggests a formal/military sort of feel. The font reads "over the wall -- under cover" which suggests that this is a spy drama. Also the review mentions the Cold War which implies that this could be a Costume Drama.
2) How do these use font, colour and graphics to appeal to an audience?
They utilise the concept of the '80s' feel to use thee neon-pop fonts and pop art colours to suggest that this is a postmodern show. The idea of Martin being split in two shows the divide between east and west. The graphics of the rockets and the Brandenburg Gate in the US advert shows that this is to do with Germany and some sort of war.
3) Why might the distributors Freemantle Media International have used different marketing campaigns in different countries?
The bold, comic like colours in the US version is to make the average lazy, passive and u=unintelligent American viewer think that this is worth a watch as the poster is such a spectacle. The UK version employs a restrained approach. It still features some colour but also leaves some ambiguity to what it could be about as the average British viewer is smarter than the average American viewer.
Read the following reviews and features on Deutschland 83:
The Guardian - Your next box set: Deutschland 83
The Guardian - Deutschland 83 Pity the Germans don't like it
1) Find one positive aspect and one criticism of Deutschland 83 in reviews.
"an irresistible export" and “the flop of the year”
2) Why does the second Guardian article suggest the Germans didn't like the show?
It makes the time period seem less serious than it actually was.
3) Find three 'below the line' comments from either of the Guardian articles. What did the audience think of Deutschland 83? Do you agree with the comments?
One on the commentators felt proud initially then found out this German show was written by Americans.
'German series often suffer from poor production value and screenplays are either obsessed with complexity or dull and boring' The audience can be seen to be unimpressed with the poor production value of the show.
was designed to be the big ballsy production that restored German TV’s pride, with the marketing budget to go with it.
Interviews and behind-the-scenes video features
Channel 4 News: Matt Frei interviews Jonas Nay
1) What does Jonas Nay say about growing up in a united Germany?
Jonas says that the Cold War was not as well covered as WW2 in school. As he wasn't alive during the separation - he said that he's like to live in West Berlin as they had more freedom.
2) The Channel 4 News interview is conducted in German with English subtitles. How does this reflect Channel 4's remit as a public service broadcaster and their target audience? (Clue: revise your work on Channel 4 and Public Service Broadcasting here!)
"Channel 4 is a publicly-owned and commercially-funded UK public service broadcaster, with a statutory remit to deliver high-quality, innovative, alternative content that challenges the status quo". - C4 wants to reach out to a bigger, more international audience.
3) Interviewer Matt Frei asks about the current political situation in Germany. Why might this interest the Channel 4 News audience?
C4 has their own News section and much of the refugee crisis was covered on C4 News.
Behind the scenes clips
The All4 website has a range of clips from behind the scenes of Deutschland 83. Watch the following:
Making Of: Why Should You Watch Deutschland 83
Watch this short promotional clip for Deutschland 83.
1) According to the clip, why should audiences watch Deutschland 83?
Anna Le Vine Winger (creator of the show) says = 'Because it is fun, because it is super interesting, because there are great performances, because it is a trip, it's an adventure, and there are a lot of surprises... and it's a journey and you want to go on the journey with these people'.
2) Why is history an important aspect of the appeal of the show?
It's a costume drama set in a real life event but in a fictionalised form. The Cold War was also not covered alot so this provides information as well.
3) What technical aspects are highlighted in the video?
'The cinematography,the costume and the production design are striking. It uses a style that we know from some "event movies". I'd say our mother and fathers paved the way for us'-Jorg Winger (producer)
Making Of: Set Design
Watch this interview with Production designer Lars Lange.
1) Why were the set design, costume and props so important for Deutschland 83?
Because it's a costume drama, the costumes say everything from the time period to the occupation of the character. The set design and props are meant to look like they are from 1983 to give it an authentic feel and to succeed at making a costume drama.
2) How historically accurate was the setting, costume and props?
Lange read the screenplay, then looked at images for perspectives. The setting, costume and props were very historically accurate and there was a lot of research done in preparation about the different cars, computers, building designs and colour schemes that we used in 1983.
3) Why were the props, costumes and music such a key audience pleasure for Deutschland 83?
Without these props, the drama would be very boring and unrealistic. This was set around Able Archer and not having the dated costumes, set design and props to go with it would lose the audiences interest.
Textual analysis: Audience pleasures and representations
We need to consider the audience pleasures of Deutschland 83 alongside various representations created in the first episode.
Scene 1: Garden/BBQ scenes (East & West Germany)
4.58 – 8.20 and 34.00 – 37.20
- Setting used to show difference between East and West Germany
- TV in scene in East showing concert from Budapest (in East)
- Prop- Nescafé coffee demonstrates what is not available in the East BUT, also shows that you don't need these big brands to be happy as the people in the East prove
- Representation of East & West Germany / Family / Gender
- Individual v Community- West v East
- Contrast in atmosphere
- Fetishisation of Eastern/ Working class life
- Socialism vs Capitalism
Scene 2: Martin/Moritz first sees the West German supermarket
14.30 – 20.25
- Mise-en-scene- supermarket colour
- House in the West- chandelier, oak panels- connotations of wealth
- Supermarket shelves- very organised, fresh food (how historically accurate is it?)
- Intertextual reference to pop art- Andy Warhol painting.
- Dialogue- on bench
- Music- "Sweet Dreams" (Diagetic use of the Eurythmics' 'Sweet dreams' helps to bring Martin's experience in the West to life).
- East and West- colour difference
- Hegemony- Tobias- even though he talks about his sacrifices, a dominant ideology is being reinforced
- Music- 'Sweet dreams'- NOSTALGIA
- PERSONAL RELATIONSHIPS- When Martin runs, we want him to be free.
Scene 3: Training montage scene when Martin/Moritz learns how to be a spy
20.40 – 22.40
- Split screen- designed to create divide between East and West
- Graphics/ brand names- 80s
- Montage sequence
- Narrative development
- Dialogue/ voiceover
- music
- difference between East and West
- West- Americanised
- Bond movie, the gadgets create excitement
Scene 4: Briefcase scene when Martin/Moritz is stealing the NATO nuclear plans
31.13 – 33.30
- Close- ups of real Able Archer documents
- Ronald Reagan's signature makes it look more authentic
- Sound effects- exaggerated to give the feeling we are next to him
- Diversion- enigma/ action codes (Barthes)
- Surveillance- real docs- events (photo of the machine)
Deutschland 83 was produced by German production company UFA Fiction and distributed internationally by FremantleMedia International. It was broadcast on RTL (Germany), SundanceTV (US) and Channel 4 (UK) as well as many other broadcasters around teh world.
1) What kind of company is UFA Fiction and what shows have they produced?
According to their website - UFA FICTION stands for qualitative and successful fictional formats in German TV and cinema
Here are some of their most successful shows:
" Deutschland86 " (Amazon Prime Video), " Ku'damm 59 " (ZDF), " The boy has to go to the fresh air " (cinema), " Naked under wolves " (Das Erste), " Danni Lowinski " (Sat.1), " Our Mothers, Our Fathers " (ZDF), " The Medicus " (Cinema) and " I'll be gone then" (Movie theater).
2) What kind of company is Freemantle Media International and what do they produce?
They produce shows that are under these categories: Global Entertainment, Drama and branded entertainment. They've made shows like Price is Right, Family Feud, X Factor and Grand Designs.
3) How does Deutschland 83 reflect the international nature of television production?
It didn't do so well in Germany but it did amazing in the UK and the US. D83 was written by a pair of German writers, produced by German/American companies then is distributed to American and British broadcasters such as Channel 4. D83 encompasses many asoects of an international effort being made.
Walter Presents
Watch this Channel 4 trailer for their Walter Presents international drama.
1) How does Channel 4 introduce 'Walter'?
C4 introduce Walter as some sort of TV drama oracle and that he KNOWS a good drama when he sees one. He then seems like a voice of reasoning and gives a sort of 'star power'/critical assurance that the Walter Presents lineup is worth watching.
2) What audience are Channel 4 trying to appeal to with the 'Walter Presents' series?
They know that he is going to produce great dramas as the trailer shows him glaring at a TV for ages so he has quite a lot of experience by the looks of it.
3) How does the 'Walter Presents' series reflect the changing nature of television in the digital age?
More and more people are owning a device where they can stream videos. C4 wants to attract an international audience so that they can get more streams and revitalise the new, digital age for some PSBs
Marketing and promotion
Trailer
1) What audience pleasures are suggested by the trailer? Think about Uses & Gratifications theory (Blumler and Katz).
Personal Identity- Many Germans feel as if they see themselves reflected in the drama
Personal Relationships- we establish a close and personal relation with Martin.
Diversion- The sub- genre of spy/ thriller can be seen as something that audiences may want to watch in order to divert/ escape reality-East v West (the conflict and suspense)
Surveillance- As Deutschland 83 is a Historical drama based on true events that took place in the past (Able Archer), audiences can gain some information/ knowledge from the series- the archives of real footage of the war and president speaking showcases the historical aspect.
2) How does the trailer use action and enigma codes (Barthes) to encourage the audience to watch the show?
It shows that the drama is a spy drama due to the many images of him photographing things, looking for things. There is also some action scenes which tell us this is going to be good. Also the countdown could suggest something about war which makes it more watchable for some viewers.
3) The only words heard in the trailer are in English. Why do you think the UK trailer avoided subtitles or German dialogue?
Naturally, Brits are repelled by any language that isn't English. This is also to show that the foreign languages might make them confused as they watch it because don't know it.
Press pack
Read the Channel 4 press pack interview with writer Anna Winger. (If the link doesn't work, you can find the text from the interview here).
1) How did she use the historical context and real-life events to create a successful drama?
Winger says = "The original seed of the idea was based on something that happened to my husband when he was doing his West German military service in the 1980’s. He was a radio signaller in West Germany, listening to the Russian troops in East Germany. Occasionally the Russians would greet him by name. So they knew that he was listening and he knew there must be a mole at his base – but he never figured out who the mole was. It could have been a boss or a colleague. My idea was to tell a story form the point of view of the mole."
2) Anna Winger discusses the use of music. Why might the soundtrack attract an audience?
"Music was key to the story from the beginning. The top 100 songs of 1983 are still on the radio all the time! It was just an incredible year of pop culture and the songs really travelled, maybe because music videos started around that time as well, so there was a visual component for the very first time".
Press release
Read this Channel 4 press release on the success of Deutschland 83. (If the link doesn't work you can find find the text from the article here).
1) List the key statistics concerning audience figures. Why is considered the most successful foreign language drama?
After launching with 1.49 million viewers, the first episode has now consolidated with 2.5 million viewers.
2) How does the news release describe the drama?
“This is the next subtitled sensation……..unmissable TV.”
TV Times
“This pacy saga could be your new subtitled obsession.”
The Guardian
“A stylish curtain-raiser for Walter Presents.”
The Times
“Great fun, and powered by an irrestible 1983 vintage soundtrack.”
The Daily Telegraph
“Evocative and gripping.”
The Daily Mail
International marketing
Look at these two different marketing campaigns - the UK DVD release (left) and the American Sundance TV advert (right).
1) How does the UK DVD cover communicate the sub-genre of the drama?
The font suggests a formal/military sort of feel. The font reads "over the wall -- under cover" which suggests that this is a spy drama. Also the review mentions the Cold War which implies that this could be a Costume Drama.
2) How do these use font, colour and graphics to appeal to an audience?
They utilise the concept of the '80s' feel to use thee neon-pop fonts and pop art colours to suggest that this is a postmodern show. The idea of Martin being split in two shows the divide between east and west. The graphics of the rockets and the Brandenburg Gate in the US advert shows that this is to do with Germany and some sort of war.
3) Why might the distributors Freemantle Media International have used different marketing campaigns in different countries?
The bold, comic like colours in the US version is to make the average lazy, passive and u=unintelligent American viewer think that this is worth a watch as the poster is such a spectacle. The UK version employs a restrained approach. It still features some colour but also leaves some ambiguity to what it could be about as the average British viewer is smarter than the average American viewer.
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