TV: Industry contexts

 Television industry contexts: Blog tasks

To finish our work on television, we need to complete some tasks exploring industry contexts around foreign-language TV, the changing audience for television and how streaming impacts the way audiences consume TV. Indeed, when answering these 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. 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?

• Seen as niche / middle-class / older audience
• Associated with art-house cinema and “serious” viewers
• Previously considered less mainstream

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

Focus on high-quality storytelling

“The best drama you’ve never seen”

Strong narratives + emotional engagement

Not about language → about universal themes

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

Viewers are now used to reading while watching

Watching TV while using phones → subtitles feel natural

Younger audiences more comfortable with subtitles

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

Insight into different cultures and lifestyles

Original, less predictable narratives

Stronger character development

Feeling of discovering something new and exclusive

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?

Premiered in the US first (on SundanceTV)

Then shown in Germany

Later broadcast in the UK on Channel 4
→ Unusual: not released in home country first

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:

• First episode: ~3 million
• Final episode: ~2 million (decline)

UK (Channel 4):

• Around 2–2.5 million viewers
  → More successful internationally than domestically

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

UFA Fiction

FremantleMedia

Announced plans for:

• Further series (e.g. Deutschland 86/89)
• Expansion into international markets

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?

Uses Twitter and online platforms to promote shows

Encourages fan discussion and recommendations

Helps build buzz around foreign dramas

Suggests UK audiences are now:

• More open-minded
• More engaged with global content

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?

Losing audiences to streaming platforms

Struggling to compete on budget and scale

Fewer high-end drama productions

 

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? 

Peak: around $160 billion (approx.)

Dropped to: around $140 billion (approx.)
→ Streaming slowdown after rapid growth

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: £1–3 million per episode (or more)

Problem:

• UK broadcasters have limited funding
• Cannot match Netflix/Amazon budgets

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

Strong UK creative talent

Continued international demand for British content

Co-productions help share costs and risks

Public service broadcasters still culturally important

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?

Since the 1980s:

• Growth of large media conglomerates
• Increased commercialisation
• Greater globalisation of media

2) What is technological convergence? 

Different media platforms merging:

• TV, internet, phones all in one

Audiences consume content across multiple devices

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

Companies like Netflix:

• Produce and distribute content
• Use algorithms + data

Challenge traditional TV by:

• Offering on-demand viewing
• Removing schedules

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?

Netflix creates shows with:

• International appeal

Example:

• Shows like Narcos or Dark
  → Mix of local culture + global themes