The rise of foreign-language TV

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?

It suggests that if a few years ago foreign languages weren't popular at all and that it was strange to watch them just for fun.

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

He considers the material as the most important thing. People can connected over the stories containing topics like love, death, politics and violence that are considered universal.

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

It suggests that the subtitles makes films and TV shows a lot more intense and immersive viewing experience. They also keep us focused because we need to pay full attention.

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

Foreign language TV drama allows viewers to gain a better understanding of different cultures and lifestyles, which is called surveillance. That means that after watching foreign text, we can be more aware of different cultures.

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?

There's an example of TV drama Sherlock have been influenced by their Asian fan base. In order to keep their fans entertained they put different  codes and clues to the story line in order to make the drama more relatable for them. 

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 article says that D83 was released in US before it was realised in Germany. That shows how foreign languages are becoming more and more popular all around the globe. 

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?

Their first episode received - 3.19 million viewers, however, its last episode only received 1.63 million, although it lost a lot of viewers in Germany, from first to last episode. Channel 4 received 2.13 milion viewers.

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

SundanceTV and FremantleMedia, because they're announcing the second season.

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 the number of increasing audience and how famous foreign language films are becomming.

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?

He posts Facebook and is also personally involved on Twitter. This has made it possible to become more involved in television dramas in foreign language. He also suggests that the way mainstream audiences receive foreign productions has changed as they seem to "fill a gap" and encourage what is available.
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?

The article suggests that the significant difference between television and film is that television seems to be more "cultural specific," referring to the fact that television shows feel obliged to be more suited to the norm of the audience and reflect that  location.

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

The original show "Prisoners of War" focuses on the war prisoners and the impact on Israeli society. Homeland, on the other hand, tends to focus on the American government's suspicion as well as the agents ' fears 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?

I feel like the the show wanted to attract the US and UK audience by holding onto some stereotypes. Maybe that's why the show wasn't well recieved in Germany.
4) What does the article suggest about subtitling?

Viewers are often hesitant to read subtitled television because, while watching the actual show, they find it somewhat  too difficult to read. The article also pointed out that American producers are used to "export culture rather than import it"-referring to the fact that many audiences are not generally used to watch subtitled shows.

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

Steven Van Zandt suggests that in order to make foreign television more appealing, you need to make it as accurate, detailed and specific to the culture that it is attempting to reflect. A good example is Lilyhammer was shot in English and Norwegian, but in order to put them into the show, the producers wanted to include small believable details about Norway.

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?

The running length/ of TV dramas depends on the funding of the broadcaster. The three most common lengths of TV and radio programming – in commissioning forms – originated from a grid schedule designed around hours and half hours to make it easy to find programs.
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?

Producers have changed the structure of their narratives in order to make the end of each episode link directly to the next - encouraging the viewer to watch multiple episodes at a time without having to review what happened in the previous episode.

3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?

Having a more complicated storyline requires the reader and makes them pay attention to the show so they don't miss any details that might be important to the plot as a whole. By using cliffhangers at the end of each episode, it is associated with the fact that viewers tend to watch multiple shows on one sitting.

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

In order to maximize the use of their time and minimize all the costs associated with producing each episode (e.g. actors and crew), TV dramas mainly stuck to these 45/60 minute episode formats. It's divided because it makes sense both economically and logistically.

5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?

24/7 has made the process of criticizing shows more progressively. This is because things like live tweeting have allowed users to comment as they are shown on the screen on certain parts / scenes in the show. This level of interaction has meant that before traditional media platforms (e.g. magazines) people often hear about different TV shows on social media.