Television industry contexts

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

If you had stated to a coworker fifteen years ago that you had spent your Saturday night engrossed in a subtitled European drama, you would have been subtly called pretentious, uninteresting, and perhaps even a bit weird.Foreign-language dramas are now completely mainstream, not just on-trend. 

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

He believes that the cause is the material itself. Prior to that, most of what came in was intended for a limited, devoted group of viewers who enjoyed watching intellectually challenging films. We now watch shows that are successful and popular; rather than watching niche programming, we are experiencing what people worldwide enjoy. 

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

The rise in popularity of international TV could also be related to something else. Subtitles are a pleasant enforcer for us to focus when we are regularly diverted from our TV viewing by Twitter feeds and a pinging WhatsApp. 

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

surveillance, escapism, diversion

1) What does the article tell us about Deutschland 83's release schedule?

Deutschland '83 premiered on Germany's commercial RTL channel five months after the US, demonstrating the show's international appeal and indicating the country where the German crime drama would 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?

3.19 million people watched the German premiere. That number decreased with each new episode, and by the end of the series, it had reached its lowest point of 1.63 million.

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

There will be a second season of Deutschland 83, according to SundanceTV and FremantleMedia.

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?

It's tough to not become immersed in the experience, even if you're tired of foreign drama because Iuzzolino posts a Weekend Pick on his Facebook page and interacts with followers on Twitter. 

1) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?

A live drama would be scripted by the studio, and there would be forks where it may go in either a scripted or spontaneous path.

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

The independent producer of Happy Valley and Last Tango in Halifax, Nicola Shindler, who also owns the independent studio Red, asserts: "Your method of narrative has to reflect the fact that viewers could watch [the entire series] straight away. Therefore, the hooks at the conclusion of each episode are crucial. However, you also need to consider how you convey information.

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

Dramas are frequently filmed in sections. While one team is preparing the next scene for a drama, another team is filming the previous scene in order to make the most of the time and cut down on the cost of actors and crew.

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

Viewer responses have been drastically changed by permanent 24/7 connectivity. Live tweeting by viewers has democratised criticism in a beneficial way, but this new media interaction has also given the traditional media a rod to hit broadcasters with. 

1) What does David Hesmondhalgh argue with regards to how the creative industries have changed since the 1980s?

According to David Hesmondhalgh, since the 1980s, the creative industries have undergone a significant transformation. With the advent of powerful media conglomerates, the expansion of intellectual property rights, and the greater commodification of cultural products, he contends, the creative industries have grown more commercialised. 

2) What is technological convergence? 

That every media form could be accessed on computers.

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

By developing their own streaming services, like Netflix, Hulu, and Amazon Prime, technology corporations are posing a threat to established broadcasters in the TV sector. These services provide users to access a range of content without having to shell out money for an expensive cable or satellite subscription, including films, TV series, and original programming. 

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 also knew it would have to create its own material because traditional media businesses would soon learn they could create their own Internet distribution networks. This was even more cunning. Disney, for instance, has switched over to distributing all of its material on its own channel instead of through Netflix.