The rise of foreign-language TV: Blog tasks

The rise of foreign-language TV: Blog tasks

To continue our work on Deutschland 83, we need to read a range of articles on the foreign-language TV phenomenon. When answering the questions, consider the issues from both an audience and industry perspective.

Independent: British viewers can't get enough of foreign-language dramas

Read this Independent feature on foreign-language dramas. It features an in-depth interview with Walter Iuzzolino who curates Channel 4's Walter Presents programming. Answer the questions below:

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

The "pretentious, dull and, possibly, a little odd."

2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?

"To Iuzzolino, the buzz around foreign TV was so strong that, over the course of two years before the project's launch"

3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?

There can be hype built around more shows, extending to foreign language tv. Therefore, with the ease of viewing, it has become just as popular as regular tv. 

4) What are the other audiences pleasures of foreign TV drama suggested by the article?

"a welcome enforcement for us to focus. "When you read subtitles, you have to be glued to the screen," says Deeks. "That concentration gives a particular intensity to the viewing experience. "

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?

They include Easter eggs for their fans. Sherlock listened to their huge Chinese fan base and pandered to them a little despite being a British production.


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?

"Premiering on AMC Network’s Sundance TV in June 2015, the show was the first German-language TV series to premiere on a US network. 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?

 "US premiere garnering 0.066 million viewers compared to Germany’s 3.19 million"

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"

4) What does the article suggest was the driving force behind the series being renewed for a new season (and possibly two new seasons)?

"it’s apparent the US critical reception and UK’s record-breaking viewership have a role to play in renewing the show"

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?

"Foreign films have a place on the arthouse circuit, but where can you find foreign TV?"

2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?

"On making “Prisoners of War” into “Homeland,” for instance, creator Gideon Raff noted that the original series focused on the experiences of and the idea of POWs, which he called an “open wound in Israeli society,” but that for the U.S. the emphasis was on the agent investigating the returned soldier, on a more American issues of distrusting the government and of a fears of agents among us."

3) Why do you think Deutschland 83 was able to rise above these cultural differences to be successful in the US and UK? Did this inadvertently make the drama fail in Germany?

The show wasn't based on recent UK and US history like it was for Germany, meaning the dramatisation was more believable and less offensive to the western audiences.
4) What does the article suggest about subtitling?

it forces focus on the programme.

5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?

“the way to make this more international is to make this more Norwegian. I want to know everything that is eccentric about Norway, different, funny, unique — all that I want to get into this show.”


The Guardian: How tech is changing television

Finally, read this Guardian feature on how tech is changing television. This has some particularly useful aspects from an industry perspective - how TV is made, the different formats of TV drama and more. Answer the following questions:

1) What are the traditional lengths for TV drama and what dictated these programme formats?

"a grid schedule designed around hours and half-hours"

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?

“The fact that the audience can catch up easily on missed episodes has hugely changed content. You don’t have to go back very far to when commissioners had this idea that the audience was so fragile and fickle that you had to be careful how complex your story was...."

4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?

 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?

Permanent 24/7 connectivity has radically altered viewer responses. 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. Stories about alleged outrage over incomprehensible actors or violent action often turn out to be based on the fact that, from among millions of viewers, a tiny handful tweeted disagreeably.