Social and cultural context
Read this Billboard interview where Common talks about Letter to the Free, political hip hop and contemporary American society. Use the article and the notes we have made in lessons (also available above) to answer the following questions on the social, cultural and genre contexts for Letter to the Free.
1) What other projects has Common been involved in over recent years?
He has been involved in the making of an album Black America Again. He has also worked closely with John Legend to produce the soundtrack for Selma
2) What is the 13th Amendment of the American Constitution?
Theoretically written to outlaw slavery, the 13th Amendment had the effect of paving the way for local and State law reforms that created loopholes that effectively enabled the continued enslavement of Black Americans through mass imprisonment.
3) What were the Black Codes?
This was a law or a rule in the Southern states that was enforced. It stated that incarcerated black people would be subjected to forced labour for petty crimes.
4) Why do people suggest that the legacy of slavery is still a crucial aspect to American culture 150 years after it was abolished by the 13th Amendment?
It was mainly emancipated slaves that were subjected to the enforcement of the 13th Amendment.
5) Why was Ava DuVernay inspired to make the Netflix documentary 13th?
to highlight the historic legacy of the 13th amendment to the US Constitution.
6) Focusing on genre, what was the most significant time period for the rise in political hip hop?
1980s-90s
7) Common talks about other current artists that have a political or protest element to their music. Who are they? Are there any other hip hop artists that you are aware of that have a strong political element to their work?
"Big Daddy Kane, Mo D, N.W.A had stuff that was saying something too. I don't feel like we have that as a whole in hip-hop, I don't think hip-hop is the place we go to to listen for that voice of a revolution or to say 'this is how we're changing things.' But there are artists that do it, like Kendrick Lamar. I also think that Chance [the Rapper], though he may not speak in black consciousness, he has a consciousness about him, self-awareness and a spirituality." - they are all black rappers who use their music as a platform for political change.
8) What album is Letter to the Free taken from? What was the critical reception for this album? You'll need to research this - the Wikipedia entry for the album is a good place to start.
It was from the album 'Black America Again' and the critics found it quite moving.
"Greg Kot of Chicago Tribune said, "One of the year's most potent protest albums. ... The album sags midway through with a handful of lightweight love songs, but finishes with some of its most emotionally resounding tracks: the "Glory"-like plea for redemption "Rain" with Legend, the celebration of family that is "Little Chicago Boy", and the staggering "Letter to the Free"."
Close-textual analysis and representation
Re-watch the music video several times to complete the following tasks in specific detail:
1) How does the Letter to the Free music video use cinematography to create meanings for the audience? (Camera shots and movement).
Movement at the beginning could symbolise what the people who went to jail saw, with the cells slowly moving. This isn't a fast paced music video, as movement is crucial to a music video, it says that this a serious video which has a message that;s close to Common's heart.
The mid-log shots make it seem like we are far away from them, suggesting there is a 'gap' to close or that the journey to rectiy black discrimination is long but doable.
2) What is the significance of the constantly moving camera?
Like the discrimination, the movement does't stop, It gives the music video a dynamic feel even through it's a slow moving video.
3) Why is the video in black and white?
It's to signify how much Amendment 13 influenced Common and how they are going for a 1960s aesthetic. Also because colour doesn't matter in this video - this being one of the the main crux that Common is trying to highlight.
4) How is mise-en-scene used to construct meaning for the audience - prison setting, costume, props, lighting, actor placement?
prison setting -the place where many emancipated slaves were taken, reminder of the legacy slavery has left on Black Americans
costumes - indistinguishable, not the main focus of the video
props - music instruments, highlights the influence on Black Americans the past has
lighting - very low key lighting
actor placement - few people are present and are often alone - shows the isolation of the black community.
5) Focusing on the track, what are the key lyrics that suggest the political message of the song?
"Black bodies being lost in the American dream" - 2:18
Jim Crow - 1:40
"the caged bird sings for freedom"
This is contrasted by
"shot me with your ray-gun"
"Prison is a business, America is the company"
This highlights how Common speaks out for all discriminated black americans when he criticises America's ability to serve equality,
6) What is the significance of the floating black square motif? Discuss your own interpretations alongside Common's explanation of it in the Billboard feature linked above.
I think it means that the square could be the place where ethnic minorities, namely black people have had to stay in. The square inhibits anyone from do anything special, which could be a symbol for western oppression as well as the isolation people feel when talking about their heritage.
7) How does the video reference racism, slavery and the oppression of black culture? Make reference to specific shots, scenes or moments in the video.
Jim Crow - 1:40
People not allowed to wear their traditional clothing -- western clothing?
Endless shots of the empty prison cells suggest that the legacy of slavery is never forgotten OR it could mean that this issue has no end.
At the back of the wall in one of the scene, close to 3:10, it says "no excessive noise" - further oppression of black people in American society.
End shot could refer to plantations the slaves worked at?
8) How can Gilroy's idea of black diasporic identity be applied to Common's Letter to the Free?
The lack of understanding where you belong is shown here by Common criticising America's treatment of black people and yet they don;t really find a place where they belong to which is why they strive for political reform.
9) What other theories of race and ethnicity can be applied to this video? E.g. Hall, Rose or Dyson.
Hall's theory of the way of categorising the ways Black Americans are portrayed in the media can be applied here as Common is taking upon the role of 'The Slave Figure': “the faithful fieldhand… attached and devoted to ‘his’ master.” (Hall 1995)
We can also apply Rose's Black Noise theory where she says rap gives audiences an insight into the lives of young, black, urban Americans and also gave them a voice. She has argued that rap has been destroyed by capitalism but Letter to the Free juxtaposes that.
10) What current events in America and worldwide are referenced in the song and video?
Jim Crow law
Police brutality
Trump's racist rallies
Mass incarceration
American Dream - 1920s
Amendment 13
Black Lives Matter
Monday, 11 May 2020
Monday, 4 May 2020
Music Video theory - Childish Gambino blog task
Childish Gambino, the musical stage name of writer and performer Donald Glover, released an incredible critique of American culture and Donald Trump with This Is America in 2018.
The music video is a satirical comment on American culture, racism and gun violence. Racking up 10m views in the first 24 hours, it now stands at over half a billion views and has been dubbed ‘genius’ and ‘a masterpiece’.
Create a blogpost called 'Music video: theory', watch the video again then answer the questions below:
1) How does the This Is America video meet the key conventions of a music video? Look back at last week's introduction to music video if you're not sure.
It includes movement with the dancers in the background. It has a performance aspect with the dancers. It tackles a lot of issues such as the black people v police problems. He highlights the growing damage of gun-control.
2) What comment is the video making on American culture, racism and gun violence?
That gun violence is relentless and taking countless lives. American culture has become something of a melting pot of different cultures. Police brutality is an ever-growing issue that is damaging society, particularly black ones.
3) Write an analysis of the video applying the theories we have learned: Gilroy, Hall, Rose and Dyson. Write a short paragraph for each theory.
Gilroy - The black-american community has made and accepted their own sort of way of making music. Issues that are pertinent to the American society, particularly the black community, are present in the video. The feelings of safety might not be with the black diaspora. They feel alienated from society as they are labelled as 'american' and then are almost forced to live a false identity.
Hall - Glover is represented as all three of the black characterisations in America. He kills, therefore a Native, he adds comedic elements, the Clown and is also the slave - raps about the oppression of black communities.
Rose: the younger black diasporic communities feel that they can relate and express themselves through rap. It also raises the question if black communities are valued if they can be voiced through music. It speaks out to people but it doesn't really fix any issues. This is shown by the fact that there are only black people in the video.
Dyson - political agendas like Trump's relaxation on gun control are criticised in the video. Dyson states: hip hop music is important because it sheds light on contemporary politics, history and race". We see how Glover critiques the treatment of black people in the modern America and that there is a clear tension between the black community and the law enforcement.
Now read this Guardian feature on This Is America - including the comments below.
4) What are the three interpretations suggested in the article?
He's playing Jim Crow, he's duping us with dance, he's taking on the police
5) What alternative interpretations of the video are offered in the comments 'below the line'? Choose two and explain what the comments are suggesting.
His gunning down of the gospel choir singing the lyric suggests that he’s tired of the pressure to accumulate wealth, to be performatively black, and stay spiritually uplifted in an age of gun violence - we see here how Dyson's theory is being supported and that current political affairs are being expressed.
The video’s choreographer, Sherrie Silver, retweeted a comment, perhaps in agreement, from someone who argued: “Childish Gambino’s dance moves distracted all of us from the craziness that was happening in the background of the video & that’s exactly the point he’s trying to make.” - one of the key aspects of a music video could be trying to lighten the load on Glover's heavy and 'hard to digest' message that the black community is disrespected and he's tired of it.
Media Magazine - This Is America: Music, Politics and Protest
Read This Is America: Music, Politics and Protest in MM65 (p14). You can find this in our Media Magazine archive. Answer the following questions:
1) The article offers an excellent textual analysis of the opening of the video. What are some of the suggested meanings and references the writer discusses? Can you link this analysis to any of the theorists we have studied?
African choir chant - Gilroy, diasporic alienation
"As he turns and starts to dance towards us, his movements become more exaggerated: his body rolls, he grimaces, pops one eye wide open, andstops behind the seated man, who is now hooded and without his guitar. The topless dancer pulls a gun from thin air, aims for the head, and shoots. As the dead body falls, a rumbling hip-hop rhythm kicks in and Glover turns to the camera,casually saying: ‘This is America’." - Hall's representation in the media; BAME indenities are presented as the other to make them valued, in reality this just highlights how bad the inequality is in America.
We can also apply the Dyson theory as we see how America is represented as a damaging and brutish nation as opposed to a wealthy land of opportunities.
2) What does the writer suggest are the main political themes in the video - and why is the message unclear?
the video references the 19th-century ‘Jim Crow’ character that popularized negative ideas about African Americans) seem to contradict the empowering black music. This irony pervades the entire video, as Glover goes on to dance with schoolchildren while crowds riot around him and grin before gunning down a church choir.
3) What meanings and suggestions does the writer highlight in Beyonce's video for Formation?
Beyoncé’s ‘Formation’ made headlines for its ‘unapologetic blackness’, leading to Saturday Night Live’s sketch ‘The Day Beyoncé Turned Black’, which parodied the confused reactions the song provoked in white people.
4) What is notable about Glover's comedy drama TV show Atlanta?
It's a show that's created for black people by black people.
5) What examples does the writer provide of hip hop as a political genre? What theorist can we link this to?
‘The Revolution Will Not Be Televised’
‘Fuck tha Police’
Enemy’s ‘Fight the Power’
‘Hell You Talmbout’
We can link this to Dyson as he says "hip hop sheds light on contemporary politics, history and race"
The music video is a satirical comment on American culture, racism and gun violence. Racking up 10m views in the first 24 hours, it now stands at over half a billion views and has been dubbed ‘genius’ and ‘a masterpiece’.
Create a blogpost called 'Music video: theory', watch the video again then answer the questions below:
1) How does the This Is America video meet the key conventions of a music video? Look back at last week's introduction to music video if you're not sure.
It includes movement with the dancers in the background. It has a performance aspect with the dancers. It tackles a lot of issues such as the black people v police problems. He highlights the growing damage of gun-control.
2) What comment is the video making on American culture, racism and gun violence?
That gun violence is relentless and taking countless lives. American culture has become something of a melting pot of different cultures. Police brutality is an ever-growing issue that is damaging society, particularly black ones.
3) Write an analysis of the video applying the theories we have learned: Gilroy, Hall, Rose and Dyson. Write a short paragraph for each theory.
Gilroy - The black-american community has made and accepted their own sort of way of making music. Issues that are pertinent to the American society, particularly the black community, are present in the video. The feelings of safety might not be with the black diaspora. They feel alienated from society as they are labelled as 'american' and then are almost forced to live a false identity.
Hall - Glover is represented as all three of the black characterisations in America. He kills, therefore a Native, he adds comedic elements, the Clown and is also the slave - raps about the oppression of black communities.
Rose: the younger black diasporic communities feel that they can relate and express themselves through rap. It also raises the question if black communities are valued if they can be voiced through music. It speaks out to people but it doesn't really fix any issues. This is shown by the fact that there are only black people in the video.
Dyson - political agendas like Trump's relaxation on gun control are criticised in the video. Dyson states: hip hop music is important because it sheds light on contemporary politics, history and race". We see how Glover critiques the treatment of black people in the modern America and that there is a clear tension between the black community and the law enforcement.
Now read this Guardian feature on This Is America - including the comments below.
4) What are the three interpretations suggested in the article?
He's playing Jim Crow, he's duping us with dance, he's taking on the police
5) What alternative interpretations of the video are offered in the comments 'below the line'? Choose two and explain what the comments are suggesting.
His gunning down of the gospel choir singing the lyric suggests that he’s tired of the pressure to accumulate wealth, to be performatively black, and stay spiritually uplifted in an age of gun violence - we see here how Dyson's theory is being supported and that current political affairs are being expressed.
The video’s choreographer, Sherrie Silver, retweeted a comment, perhaps in agreement, from someone who argued: “Childish Gambino’s dance moves distracted all of us from the craziness that was happening in the background of the video & that’s exactly the point he’s trying to make.” - one of the key aspects of a music video could be trying to lighten the load on Glover's heavy and 'hard to digest' message that the black community is disrespected and he's tired of it.
Media Magazine - This Is America: Music, Politics and Protest
Read This Is America: Music, Politics and Protest in MM65 (p14). You can find this in our Media Magazine archive. Answer the following questions:
1) The article offers an excellent textual analysis of the opening of the video. What are some of the suggested meanings and references the writer discusses? Can you link this analysis to any of the theorists we have studied?
African choir chant - Gilroy, diasporic alienation
"As he turns and starts to dance towards us, his movements become more exaggerated: his body rolls, he grimaces, pops one eye wide open, andstops behind the seated man, who is now hooded and without his guitar. The topless dancer pulls a gun from thin air, aims for the head, and shoots. As the dead body falls, a rumbling hip-hop rhythm kicks in and Glover turns to the camera,casually saying: ‘This is America’." - Hall's representation in the media; BAME indenities are presented as the other to make them valued, in reality this just highlights how bad the inequality is in America.
We can also apply the Dyson theory as we see how America is represented as a damaging and brutish nation as opposed to a wealthy land of opportunities.
2) What does the writer suggest are the main political themes in the video - and why is the message unclear?
the video references the 19th-century ‘Jim Crow’ character that popularized negative ideas about African Americans) seem to contradict the empowering black music. This irony pervades the entire video, as Glover goes on to dance with schoolchildren while crowds riot around him and grin before gunning down a church choir.
3) What meanings and suggestions does the writer highlight in Beyonce's video for Formation?
Beyoncé’s ‘Formation’ made headlines for its ‘unapologetic blackness’, leading to Saturday Night Live’s sketch ‘The Day Beyoncé Turned Black’, which parodied the confused reactions the song provoked in white people.
4) What is notable about Glover's comedy drama TV show Atlanta?
It's a show that's created for black people by black people.
5) What examples does the writer provide of hip hop as a political genre? What theorist can we link this to?
‘The Revolution Will Not Be Televised’
‘Fuck tha Police’
Enemy’s ‘Fight the Power’
‘Hell You Talmbout’
We can link this to Dyson as he says "hip hop sheds light on contemporary politics, history and race"
Tuesday, 28 April 2020
Music Video introduction blog task
This week's work requires Media Factsheet #69: Music Video. You'll need to log in to Google using your Greenford Google account to access this. Read the factsheet and answer the following 10 questions:
1) What is the purpose of a music video?
To sell products and the song which features in the music video.
2) How has the digital age changed the production and distribution of music videos?
They have become more easily accessible and can get a lot more coverage as social media is free. Production is a lot quicker and therefore more music videos are being made.
3) Which three major record labels are behind VEVO? What is VEVO and why was it created?
Sony Music Entertainment, Universal Music Group and Abu Dhabi Music Group. It is supposed to be a joint initiative to create YouTube music videos for the UK. They make their money from advertising and royalties.
4) What are the key conventions of a music video?
Movement, a narrative, the artist/s and sometimes intertextuality.
5) How can narrative be used in music video? Give an example of a music video that uses a narrative.
Narrative can be used to tell a story that is close to the artists heart or just a gripping story to couple the music well.
In Avicii's Levels, we see how a typical office worker gets admitted to a hospital with an infectious disease (not COVID-19) and then when he wakes up he has infected all the hospital workers with a dancing virus. Strange but good.
6) What examples are provided in the factsheet for intertextuality in music videos?
Blink 182 - All the small things
Christina Aguilera - Genie in a bottle
7) Why do audiences enjoy intertextual references in media products?
It could provide nostalgia from their past, they could find a personal relationship with them or see them reflected with that intertextuality.
8) Read the music video example analysis on page 3 of the factsheet. Select a music video of your own choice and write your own analysis using the following headings:
Music Video - please don't ask how I found this...
9) Watch the video for Ice Cube's It Was A Good Day (1993). How did this video set the conventions for later hip-hop music videos?
It has a tracking shot, which is featured in most hip-hop videos. It has cars, death, money and a narrative. The police at the end also show that there is a hint of crime here too. Movement is also very prominent here with the narrative this follows.
Final question - your own opinion
10) How important do you think music videos are in the marketing and promotion of music artists in 2018? Are music videos essential to a band or artist's success?
I think music videos are a great way to interact with fans as it gives them a chance to consume and purchase their products. Videos are a good way to promote merch as well because it would be seen by their fans. I think music videos are a good way to make a breakthrough in the music industry as they can feature dances or famous characters. Music videos like PSY's Gangnam Style have that famous dance which is only famous because there was a video. Videos give a chance to let the fans see the artists creativity.
1) What is the purpose of a music video?
To sell products and the song which features in the music video.
2) How has the digital age changed the production and distribution of music videos?
They have become more easily accessible and can get a lot more coverage as social media is free. Production is a lot quicker and therefore more music videos are being made.
3) Which three major record labels are behind VEVO? What is VEVO and why was it created?
Sony Music Entertainment, Universal Music Group and Abu Dhabi Music Group. It is supposed to be a joint initiative to create YouTube music videos for the UK. They make their money from advertising and royalties.
4) What are the key conventions of a music video?
Movement, a narrative, the artist/s and sometimes intertextuality.
5) How can narrative be used in music video? Give an example of a music video that uses a narrative.
Narrative can be used to tell a story that is close to the artists heart or just a gripping story to couple the music well.
In Avicii's Levels, we see how a typical office worker gets admitted to a hospital with an infectious disease (not COVID-19) and then when he wakes up he has infected all the hospital workers with a dancing virus. Strange but good.
6) What examples are provided in the factsheet for intertextuality in music videos?
Blink 182 - All the small things
Christina Aguilera - Genie in a bottle
7) Why do audiences enjoy intertextual references in media products?
It could provide nostalgia from their past, they could find a personal relationship with them or see them reflected with that intertextuality.
8) Read the music video example analysis on page 3 of the factsheet. Select a music video of your own choice and write your own analysis using the following headings:
Music Video - please don't ask how I found this...
- Conventions (movement/narrative/artist)
There is movement everywhere, with a narrative about these fans who are so dedicated to an athlete, they've made a music video about him. The video features the artists in quite orange clothing. The use of go-karts enhances the movement as well as the pounding, fast beat which is very prominent.
- Intertextuality
It refers to a driver of course and then wearing the team apparel makes it more obvious that they are in TOTAL support of. They also use the Dutch flag.
- Representation
This video represents the Dutch as quite passionate and loyal to their local fanbase. They also represent how F1 fans support their fans through the form of music. The video only features men which could pose the question, do women have enough say in sport fanbases?
- Audience
They are making this to please F1 fans and the audience also feel a sense of nostalgia when they see the f1 cars and logos. Dutch people can see themselves reflected in this as they see their flag.
- Institution
They are singing about a sport, so there aren't really any conventions. The artists are wearing merch, not theirs but have linked their iTunes song in the description.
9) Watch the video for Ice Cube's It Was A Good Day (1993). How did this video set the conventions for later hip-hop music videos?
It has a tracking shot, which is featured in most hip-hop videos. It has cars, death, money and a narrative. The police at the end also show that there is a hint of crime here too. Movement is also very prominent here with the narrative this follows.
Final question - your own opinion
10) How important do you think music videos are in the marketing and promotion of music artists in 2018? Are music videos essential to a band or artist's success?
I think music videos are a great way to interact with fans as it gives them a chance to consume and purchase their products. Videos are a good way to promote merch as well because it would be seen by their fans. I think music videos are a good way to make a breakthrough in the music industry as they can feature dances or famous characters. Music videos like PSY's Gangnam Style have that famous dance which is only famous because there was a video. Videos give a chance to let the fans see the artists creativity.
Sunday, 26 April 2020
TV: End of unit index
1) Introduction to TV Drama
2) Capital: Case study and analysis
3) Capital: Marxism and Hegemony
4) Deutschland 83: Case study and analysis
5) Deutschland 83: Postmodernism
6) Industries: The rise of foreign-language TV dramas
7) Industries: The impact of new/digital media on television
8) Assessment: 750-word exam question
2) Capital: Case study and analysis
3) Capital: Marxism and Hegemony
4) Deutschland 83: Case study and analysis
5) Deutschland 83: Postmodernism
6) Industries: The rise of foreign-language TV dramas
7) Industries: The impact of new/digital media on television
8) Assessment: 750-word exam question
Tuesday, 21 April 2020
TV: Assessment
Question 1
“Realism is a vital component of television drama”. To what extent does an analysis of your television close-study products support this view? [25 marks]
Reaslim is, according to litnotes.com, 'when an audience is able to recognise and identify with a media text so that connections can be made with their personal lives'. Our close-study products also incorporate some interesting aspects of realism that are there for either historical accuracy or to have a certain effect on the audience. Capital, a show produced by the BBC which is a major PSB in the media landscape, portrays a balanced view of both left and right-wing views. Capital also evokes an argument about whether PSBs like the BBC are actively constructing our perception of society and asks if we are being kept in line by an elite-all powerful group. On the other hand, Deutschland 83, a costume drama about the Able Archer crisis during the Cold War, manages to be gripping to an audience despite it being a foreign-language drama and it also needs to be historically accurate as it's documenting a real-life event albeit featuring a fictionalised storyline between characters.
Capital explores some interesting aspects of realism where we don't really realise that we may be being forced to agree with the inner workings of a capitalist society, according to Gramsci's hegemony theory. The BBC is a publicly owned PSB where the public pay a licence fee of £154.50 to access their multitude of channels and other media platforms. The BBC has been subject to a lot of criticism as they have been known to twist meanings to their own agenda, to fit their remit. This suggests that an elite rich controls the production of shows like Capital so their idea of 'realism' may be skewed due to their beliefs. Capital reinforces both left and right-wing ideologies, despite the BBCs neutral stance, via Roger who represents the upper-middle class and owns a rather luxurious house and additional luxuries including a hot room and a summer house. This shows a sense of realism as many people living in London and who work in Canary Wharf would be able to sustain a grand life like Roger's. However, realism is probably more accurately represented through people like the Kamal family and Quentina as they are the working class/less celebrated members of society who in reality work harder. The producers of Capital expertly depict the rather tragic life of Quentina who is an asylum seeker from Zimbabwe working illegally as a traffic warden to barely make ends meet. In addition to Quentina's struggle in the UK, she also gets abused by her 'boss' who is most likely a human trafficker. More left-wing ideologies are exerted via the Kamal family who, in one scene, live and eat in peace. They have regular family meals with an almost entirely happy atmosphere. This accurate representation of the working class raises the question if Capital is leaning towards left-wing ideas as they arguably fetischise the working class. So realism in Capital is a vital component when it comes to representing the different parts of society. Petunia's appearance as an empty pensioner who only has her home, further shows how accurate the realism is in Capital as this reinforces the dire situation for OAPs that is taking place across the UK. Capital also does a great job capturing the situation the UK was in the 2007-08 economical crisis. This state-of-the-nation drama perfectly shows how the staggering house prices brutally affected the London population. The economic crisis only highlighted just how much of a divide there was between the working and upper class which is represented through Roger vs Quentina.
Deutschland 83 however is a completely different ballgame when it comes to realism. Unlike Capital not that many people remember and have experienced the communist regime in East Germany throughout the 1980s. The 2007 economic crisis was worldwide but Able Archer is less known to those who were alive during the Cold War. The Cuban Missile crisis of 1963 was a more prominent issue so Able Archer wasn't seen as really dangerous. Despite its popularity, the producers of the show, Walter Presents and UFA Fiction, still had to make sure that every detail was as historically accurate as it could be. Due to the Able Archer files and documents being released for public viewing in 2013, the producers of D83 used copies of these documents in the briefcase scene where Martin takes pictures of the real documents used in the Able Archer reports. The briefcase scene is also an example of intertextuality as this has a spy movie feel to it, a cliche almost. This is a clear example of pastiche, which is where products that refer to a specific time period, person or event are imitated or used. This is portrayed in the opening sequence of D83 as there is archived footage as well as bricolage and hyperreality as shown by the text on the screen when introducing a new location in the 8-part drama. Intertextuality is an area where the producers of the show didn't skimp on. When Martin is taken to Bonn, many products are referred to such as Puma and Der Spiegel, a West German newspaper. Nostalgia is also a key player in the realism effect D83 has on its viewers. Songs like 99 Luftballons, an example of Pastiche as it uses footage from Nena's concert in Hungary 1983, and Sweet Dreams, coupled with 80s-esque font on brands and colours, act as an audience pleasure which accurately represents the time period the drama is set in. The supermarket scene also features an excellent mid shot with Martin amongst shelved packed full of stuff, the arrangement of the colours are a nod to the Andy Warhol Tin art which enhances D83's postmodern aspect. As this is also a costume drama, the costumes that everyone wears have to be accurate to that specific time period. In the West we see more colour and variety in clothing and general props whereas in the East, more drab and muted colours are present - making the Eastern half of Germany seem deprived of any joy. D83 does an excellent job in representing the differences between life in the East as opposed to the West. This also, much like Capital, fetischises the working-class as it pritrays the East as much more happier with their lives despite the general conditions being quite bad. In the West, many of the people at the garden party are far apart and some are quite unfriendly, such as Yvonne and Alex fighting even though they're siblings. So for a drama that has to portray a historical event that isn't that widely known, I'd say that Deutschland 83 ticks a lot of boxes for realism. Another Postmodern element to D83 is that, during the introduction to Martin, Shakespeare is referred to. This is an example of intertextuality and reinforces Strinati's theory that Postmodernism features a breakdown between high and low class culture. But can they really recreate the events leading up to Able Archer without a few mistakes in historical representation? I think they aren't 100% accurate but it still doesn't take away from the fact that realism is a major if not the most important aspect that the producers considered whilst making D83.
When comparing D83 with Capital, some points can be used from both Marxism and Postmodernism to show just how much each show values realism. In D83, we see how the Able Archer documents and some of the press reels were from the American Government. This is a clear example of Jamesons idea of historical deafness as he argues that the mediasation of history meant that we only understand historical events through their media representation. The documents and speeches made by Reagan emphasise that history is written by the winners and that this may have then included some bias that may have tainted the believability of D83's use of realism. In Capital, the choice of the story lines pushes a social realist agenda as it realistically represents social problems. The identity tensions in the Kamal family and the terrible living conditions in which the Polish builders live, highlight Capital's social realist view on the world. This is why many think that this show is controversial as it explores and criticizes both sides of the political and social spectrum. D83 also illustrates that, like the Marxist theories suggest in Capital, East Germany is an example of an elite, single-class group that controls society. D83 also features some Ostalgie (not sure if this fits in?) which the sense of nostalgia about East German aspects of life such as Trabants and the food they had. This is another example of how D83 has represented East Germany well. Through Tischbier and Lenora's motivation concern for the safety of the DDR we see how the DDR cared more for its inhabitants communally, unlike Capital. An interesting point is that D83 is produced by an Western society which in return makes the idea of Communism seem weak and inferior. Capital uses pastiche to refer to the 2007 crisis and rising house prices as well as selective representation because Capital makes it seem that London is a carbon copy of what the rest of the UK is like - which is the opposite as London is another world compared to the rest of the UK. Capital also opposes Strinati's fifth point about Postmodernism where he states "there is a decline of meta narratives or grand narrative". This is shown by Quentina and how she finds her 'family' in the Church, which is proof that grand narratives still exist in a postmodern world, even though there isn't much about Capital that's postmodern.
To summarise, I wholeheartedly agree with this statement and would say that, to an extent, realism is what makes or breaks a show. Because the producers of Capital want to emphasise that they are not attacking the idea of capitalism despite the drama taking place just after a huge financial crash. Valid representations of Capital's cast add to the value of realism. Quentina is represented as hardworking but doesn't get paid for how hard she works whereas people like Roger get infuriated at the fact that his bonus is JUST £30,000 to which he replies "what good is 30k to anyone?". Capital does a great job to pinpoint societal issues that were present in 2007 London and are still relevant today. Deutschland 83 is set in a very tense era for the Western world and precisely depicts how East and West Germany reacted to the Able Archer incident through various aspects using mise-en-scene, the colours present in both sides, the way West Germans reject traditional German culture and opt for a Westernised lifestyle and with props like the documents and setting, such as Bonn and Kleinmachnow. So I think that realism is a VERY important part of television drama, as without it, there isn't really much to grip audiences or to make it a meaningful media product.
(this was very long and I think I need a lie down after writing this)
“Realism is a vital component of television drama”. To what extent does an analysis of your television close-study products support this view? [25 marks]
Reaslim is, according to litnotes.com, 'when an audience is able to recognise and identify with a media text so that connections can be made with their personal lives'. Our close-study products also incorporate some interesting aspects of realism that are there for either historical accuracy or to have a certain effect on the audience. Capital, a show produced by the BBC which is a major PSB in the media landscape, portrays a balanced view of both left and right-wing views. Capital also evokes an argument about whether PSBs like the BBC are actively constructing our perception of society and asks if we are being kept in line by an elite-all powerful group. On the other hand, Deutschland 83, a costume drama about the Able Archer crisis during the Cold War, manages to be gripping to an audience despite it being a foreign-language drama and it also needs to be historically accurate as it's documenting a real-life event albeit featuring a fictionalised storyline between characters.
Capital explores some interesting aspects of realism where we don't really realise that we may be being forced to agree with the inner workings of a capitalist society, according to Gramsci's hegemony theory. The BBC is a publicly owned PSB where the public pay a licence fee of £154.50 to access their multitude of channels and other media platforms. The BBC has been subject to a lot of criticism as they have been known to twist meanings to their own agenda, to fit their remit. This suggests that an elite rich controls the production of shows like Capital so their idea of 'realism' may be skewed due to their beliefs. Capital reinforces both left and right-wing ideologies, despite the BBCs neutral stance, via Roger who represents the upper-middle class and owns a rather luxurious house and additional luxuries including a hot room and a summer house. This shows a sense of realism as many people living in London and who work in Canary Wharf would be able to sustain a grand life like Roger's. However, realism is probably more accurately represented through people like the Kamal family and Quentina as they are the working class/less celebrated members of society who in reality work harder. The producers of Capital expertly depict the rather tragic life of Quentina who is an asylum seeker from Zimbabwe working illegally as a traffic warden to barely make ends meet. In addition to Quentina's struggle in the UK, she also gets abused by her 'boss' who is most likely a human trafficker. More left-wing ideologies are exerted via the Kamal family who, in one scene, live and eat in peace. They have regular family meals with an almost entirely happy atmosphere. This accurate representation of the working class raises the question if Capital is leaning towards left-wing ideas as they arguably fetischise the working class. So realism in Capital is a vital component when it comes to representing the different parts of society. Petunia's appearance as an empty pensioner who only has her home, further shows how accurate the realism is in Capital as this reinforces the dire situation for OAPs that is taking place across the UK. Capital also does a great job capturing the situation the UK was in the 2007-08 economical crisis. This state-of-the-nation drama perfectly shows how the staggering house prices brutally affected the London population. The economic crisis only highlighted just how much of a divide there was between the working and upper class which is represented through Roger vs Quentina.
Deutschland 83 however is a completely different ballgame when it comes to realism. Unlike Capital not that many people remember and have experienced the communist regime in East Germany throughout the 1980s. The 2007 economic crisis was worldwide but Able Archer is less known to those who were alive during the Cold War. The Cuban Missile crisis of 1963 was a more prominent issue so Able Archer wasn't seen as really dangerous. Despite its popularity, the producers of the show, Walter Presents and UFA Fiction, still had to make sure that every detail was as historically accurate as it could be. Due to the Able Archer files and documents being released for public viewing in 2013, the producers of D83 used copies of these documents in the briefcase scene where Martin takes pictures of the real documents used in the Able Archer reports. The briefcase scene is also an example of intertextuality as this has a spy movie feel to it, a cliche almost. This is a clear example of pastiche, which is where products that refer to a specific time period, person or event are imitated or used. This is portrayed in the opening sequence of D83 as there is archived footage as well as bricolage and hyperreality as shown by the text on the screen when introducing a new location in the 8-part drama. Intertextuality is an area where the producers of the show didn't skimp on. When Martin is taken to Bonn, many products are referred to such as Puma and Der Spiegel, a West German newspaper. Nostalgia is also a key player in the realism effect D83 has on its viewers. Songs like 99 Luftballons, an example of Pastiche as it uses footage from Nena's concert in Hungary 1983, and Sweet Dreams, coupled with 80s-esque font on brands and colours, act as an audience pleasure which accurately represents the time period the drama is set in. The supermarket scene also features an excellent mid shot with Martin amongst shelved packed full of stuff, the arrangement of the colours are a nod to the Andy Warhol Tin art which enhances D83's postmodern aspect. As this is also a costume drama, the costumes that everyone wears have to be accurate to that specific time period. In the West we see more colour and variety in clothing and general props whereas in the East, more drab and muted colours are present - making the Eastern half of Germany seem deprived of any joy. D83 does an excellent job in representing the differences between life in the East as opposed to the West. This also, much like Capital, fetischises the working-class as it pritrays the East as much more happier with their lives despite the general conditions being quite bad. In the West, many of the people at the garden party are far apart and some are quite unfriendly, such as Yvonne and Alex fighting even though they're siblings. So for a drama that has to portray a historical event that isn't that widely known, I'd say that Deutschland 83 ticks a lot of boxes for realism. Another Postmodern element to D83 is that, during the introduction to Martin, Shakespeare is referred to. This is an example of intertextuality and reinforces Strinati's theory that Postmodernism features a breakdown between high and low class culture. But can they really recreate the events leading up to Able Archer without a few mistakes in historical representation? I think they aren't 100% accurate but it still doesn't take away from the fact that realism is a major if not the most important aspect that the producers considered whilst making D83.
When comparing D83 with Capital, some points can be used from both Marxism and Postmodernism to show just how much each show values realism. In D83, we see how the Able Archer documents and some of the press reels were from the American Government. This is a clear example of Jamesons idea of historical deafness as he argues that the mediasation of history meant that we only understand historical events through their media representation. The documents and speeches made by Reagan emphasise that history is written by the winners and that this may have then included some bias that may have tainted the believability of D83's use of realism. In Capital, the choice of the story lines pushes a social realist agenda as it realistically represents social problems. The identity tensions in the Kamal family and the terrible living conditions in which the Polish builders live, highlight Capital's social realist view on the world. This is why many think that this show is controversial as it explores and criticizes both sides of the political and social spectrum. D83 also illustrates that, like the Marxist theories suggest in Capital, East Germany is an example of an elite, single-class group that controls society. D83 also features some Ostalgie (not sure if this fits in?) which the sense of nostalgia about East German aspects of life such as Trabants and the food they had. This is another example of how D83 has represented East Germany well. Through Tischbier and Lenora's motivation concern for the safety of the DDR we see how the DDR cared more for its inhabitants communally, unlike Capital. An interesting point is that D83 is produced by an Western society which in return makes the idea of Communism seem weak and inferior. Capital uses pastiche to refer to the 2007 crisis and rising house prices as well as selective representation because Capital makes it seem that London is a carbon copy of what the rest of the UK is like - which is the opposite as London is another world compared to the rest of the UK. Capital also opposes Strinati's fifth point about Postmodernism where he states "there is a decline of meta narratives or grand narrative". This is shown by Quentina and how she finds her 'family' in the Church, which is proof that grand narratives still exist in a postmodern world, even though there isn't much about Capital that's postmodern.
To summarise, I wholeheartedly agree with this statement and would say that, to an extent, realism is what makes or breaks a show. Because the producers of Capital want to emphasise that they are not attacking the idea of capitalism despite the drama taking place just after a huge financial crash. Valid representations of Capital's cast add to the value of realism. Quentina is represented as hardworking but doesn't get paid for how hard she works whereas people like Roger get infuriated at the fact that his bonus is JUST £30,000 to which he replies "what good is 30k to anyone?". Capital does a great job to pinpoint societal issues that were present in 2007 London and are still relevant today. Deutschland 83 is set in a very tense era for the Western world and precisely depicts how East and West Germany reacted to the Able Archer incident through various aspects using mise-en-scene, the colours present in both sides, the way West Germans reject traditional German culture and opt for a Westernised lifestyle and with props like the documents and setting, such as Bonn and Kleinmachnow. So I think that realism is a VERY important part of television drama, as without it, there isn't really much to grip audiences or to make it a meaningful media product.
(this was very long and I think I need a lie down after writing this)
Monday, 30 March 2020
The impact of new/digital media on TV: blog task
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
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
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.
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