Television industry contexts

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

Read this Independent feature on foreign-language dramas. If the website is blocked or forcing you to register you can access the text of the article here. 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 article suggest that in the past, not many people in the UK watched foreign-language shows with subtitles. But now, more and more people are enjoying them—especially since shows like Walter Presents made them easier to find and more popular.

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

Walter Iuzzolino suggests that the shows selected for 'Walter Presents' are already critical and commercial successes in their countries of origin. He focuses on high production values, compelling storytelling, and universal themes, ensuring that the content is liked by a wide audience.

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

The article suggests that in today's multi-screen age,  subtitles have become more accepted as viewers are accustomed to reading while watching. This change has made foreign-language content more accessible and appealing to a broader audience.

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?

Deutschland 83' premiered in Germany before being broadcast in the UK on Channel 4. Its international release schedule contributed to its global recognition and success.

                                                                                                                                                                                                                                                                                                                                                                        

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?

3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October? 

 The series was produced by UFA Fiction and distributed by FremantleMedia International. In October, they announced plans for a sequel, 'Deutschland 86', continuing the story and expanding the series' universe.

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?

Walter Iuzzolino actively engages with audiences through social media platforms, sharing insights and behind-the-scenes content. This approach has enhanced the foreign productions in the UK by creating a more interactive viewing experience.

The Guardian: How Britain's TV industry is struggling in the streaming era

Read this Guardian feature on how Britain's TV industry - particularly public service broadcasters - are struggling to keep up with the American streaming giants. Answer the following questions: 

1) What is happening to UK public service broadcasters like the BBC and Channel 4 when it comes to TV drama? 

Public service broadcasters like the BBC and Channel 4 are facing financial challenges due to increased competition from American streams. This competition has led to reduced budgets for TV dramas and difficulties in retaining talent.

2) Look at the middle of the article where global budgets are discussed. What was the peak of the global premium TV streaming market and what has it dropped to in recent years? 

The global premium TV streaming market peaked at £3.44 billion in 2024 but has since experienced a decline, affecting investment in high-end TV productions.

3) What are the typical production costs per hour of high-end TV production? Why does this create a challenge for Britain's public service broadcasters? 

High-end TV productions typically cost at least £1 million per hour. These substantial costs pose challenges for Britain's public service broadcasters, which have limited budgets compared to international streaming services.

4) Look at the end of the article. Why is there still an optimism about the British TV industry?

 Despite financial pressures, there remains optimism due to the UK's strong tradition of storytelling and creative talent. Industry leaders believe that with strategic adjustments, the British TV industry can continue to produce high-quality content.

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?

David Hesmondhalgh argues that since the 1980s, the creative industries have become more commercialised, with a focus on market-driven content. This shift has influenced the types of media produced and the prioritisation of profit over cultural value.

2) What is technological convergence?

 

Technological convergence refers to the merging of traditional media with digital technologies, allowing content to be distributed across multiple platforms and devices.

3) How are technology companies challenging traditional broadcasters in the TV industry?

Big tech companies like Netflix are competing with traditional TV by using data, big budgets, and a global audience to produce shows that people all over the world want to watch.

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?

An example of Netflix's consideration for international audiences is its investment in producing and promoting non-English language series, such as 'Narcos' and 'Money Heist', which have gained global popularity.