TV: Industry contexts

 1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?

The article suggests this has become mainstream in todays media.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Foreign languages and the voices and the costumes.

3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
You naturally look at the letters placed in the middle of the bottom of the screen.

4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Audiences want to see new things in TV by foreign TV they can see different cultures and a diverse community.
Walter says this is like spending your weekend in a different country. 


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 1st German speaking show in American TV. Premiered on AMC's TV network in June 2015.

2) The article contains important statistics on viewing figures in different countries. What were the German viewing figures for the first and last episode? What were Channel's 4's viewing figures for Deutschland 83?
Initially Germany had a very high view count of 3.19 million with also 66,000 Americans watched it too. Overtime the German viewing figures fell to 1.63 million.

3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October? Fremantle and Sundance TV announced the sequel of the show.

4) How does Walter Iuzzolino use social media to engage audiences in new international TV dramas? How does he suggest this has changed the reception of foreign productions in the UK?
He posts weekend pictures on Facebook and talked with others on Twitter.


The Guardian: How tech is changing television

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) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
Series are released in 1 go and can be "binge-watched".

2) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
Cliffhangers leave the audience in either suspense or curiosity so they come back for more.

3) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
This was done because so people who want to show can have the time for it as they also have to work and can't mindlessly consume.

4) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
There is live tweeting by the audiences used for "usefully democratised criticism."


Media Magazine: Netflix and the Cultural Industries 

Finally, go to our Media Magazine archive and read the article on Netflix and the Cultural Industries (MM63 - page 45). Answer the following questions:

1) What does David Hesmondhalgh argue with regards to how the creative industries have changed since the 1980s?
Niche audiences more targeted.
Globalisation so texts can be more understood
Deregulation reducing public ownership

2) What is technological convergence? 
Technological convergence is a term that describes bringing previously unrelated technologies together, often in a single device. Smartphones might be the best possible example of such a convergence.

3) How are technology companies challenging traditional broadcasters in the TV industry?
Amazon used to sell books while Netflix physically sent DVDs to your house. Now their service is online over a device.


4) The global nature of modern television means producers are having to consider international audiences when creating content. What example from Netflix does the article use to explain this?
Japanese version of Stranger Things. This would be censored in some countries.

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