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.