TV Index

Introduction to TV Drama
Capital: Case study
Capital: Marxism and Hegemony
Capital: Applying Marxism
Deutschland 83: Case study
Deutschland 83: Close-textual analysis notes
Deutschland 83: Postmodernism
Industries: The rise of foreign-language TV dramas
Industries: The impact of new/digital media on television
TV exam question

TV Exam Question

“Realism is a vital component of the television drama”. To what extent does an analysis of your television close-study products support this view? 

Realism is a vital component of television drama, having a realistic narrative and characters can influence the audience to form more substantial personal relationships with the characters and in turn, could lead to a more successful run from the television drama. For Example, In Deutschland '83, although some aspects of the narrative and scenery are explicitly fictional and dramatised for viewers entertainment, the realistic characters and bricolage of archive footage and fictional characters, makes the tv show much more enticing. The idea of 'based on a true story' is attractive to audiences, who enjoy the entertainment value of dramas but the realism of surveillance - it is human nature to be curious and by having a realistic take on an unrealistic situation, it allows the audience to feel like they are looking into someone's life, which is an audience pleasure. The Supermarket scene, in Deutschland '83, is an obvious example of this with the pastiche to pop art shown through the unrealistically full shelves and high contrast, bright setting juxtaposing the realistic anxiety and turmoil felt by Martin/Moritz as he is faced with a new world without his consent. 

For Capital, the realism aspect was by far the most significant, as a 'state of the nation' drama, Capital was created, in order to reflect London during the economic crisis and in this case realism and accuracy is key. The use of animations of housing prices rising between scenes throughout the pilot episode, communicated a sense of realism as if we were watching the rise in 'real time', this would allow Londoners to see themselves reflected in the show, and create a sense of personal identity that may have been forgone if it was an unrealistic, melodramatic depiction of a very recent and memorable event in London's history. Realism, in this case, would be the most politically correct and profitable approach to a series, whereas in other cases such as Downton Abbey or Mad Men, realism is only slightly significant and the hard-hitting narratives and dramatic perspective on a piece of history are appreciated a lot more. Deutschland '83 uses a mix of realism and recognisable fiction to adhere to a respectful depiction of an important part of Germany's history but also be profitable for a western audience, with scenes that are clearly for the viewer's visceral pleasure. Therefore, you could argue that the aesthetics and overall production of a television drama is far more significant than a realistic representation as it offers creative differentiation and is arguably more profitable for a younger demographic and that a blurring of realism can promote 'historical deafness' [Jameson] in the younger generations, who rely on the media for both surveillance and diversion purposes.

In conclusion, I believe that through Capital [2015] and Deutschland 83 [2015], you can argue that realism is a vital component to a television drama however it is not the most vital component. Although, realistic depictions offer social, historical and cultural context and invoke audience pleasures, an enticing narrative arc and playing with the existing conventions of a drama and taking a politically subversive or post-modern stance with your creative liberation is much more vital in a contemporary climate, as the density of content provided leads to the likeliness of hegemonic monopolies throughout the media and with shows like Capital and Deutschland 83 by presenting Marxist or Postmodern content on a mainstream scale, it improves diversity within dramas and is vital to the suistainability of tv dramas.

The impact of new digital media on television

What does the 'industry' concept in A Level Media Studies refer to?

• The companies that create and distribute media texts, the standard practices as well as the regulatory and legal frameworks they work within. 

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

• That there's been a significant change in cultural production.

Choose the three most significant points Hesmondhalgh makes regarding the changing cultural industries. Why are these the most significant in your view?

• "There has been an increase in media companies expanding into different industries"
• "Globalisation has reduced the North American dominance in the media"
• "Niche audiences are increasingly targeted"
• These are the most significant from my perspective since these 3 speak about the audience changes as well as industry impacts of the changing cultural stance. There's an increase in media differentiation and the North American monopoly is no longer threat allowing exposure of different cultures and representation to differ and improve as we become accustomed to a more liberalised media climate. The target of niche audiences also adds to this as mainstream ideologies and representations will be adapted to fit niche point of views which could be socially beneficial. 

What is technological convergence? 

• The integration of different technologies as they develop and evolve.

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

• Every media form can be accessed digitally through computers and allows internet platforms to host unregulated material and even become media companies.

What budgets will Netflix, Amazon and Apple spend on original programming next year according to the article?

• Netflix - $8 Billion
• Amazon - $4.5 Billion
• Apple - $1 Billion

How many countries are Netflix and Amazon available in?

• 190 [Netflix] and 200 [Amazon]

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?

• The 'Demogorgon' from Stranger Things, was renamed in other countries depending on what the demon prince in dungeons and dragons was called in those parts of the world. Also the same dubbed voice actors are used for Winona Ryder that were used in Dracula and Beetlejuice.

Do you think technology companies such as Google, Facebook and Amazon will increase their interest in the television industry?

• Personally, I believe that technology companies will increase their interest in the television industry. In the recent years, we have seen the rise of Amazon Prime originals and Youtube premium releasing original television content exclusive to their platforms. The success of these shows, the Marvellous Mrs Maisel being a hit at award shows and social media influencers climbing the success ladder through starring in one hit wonder youtube series' is appealing to the younger demographic it is advertised towards. Therefore, due to these successes, i believe more technology companies will see both the economic gain and creative opportunity within expanding into the television industry. 

How do changes in technology influence the creation of TV dramas such as Capital or Deutschland 83? 

• Technology influences costume dramas such as Deutschland 83 as it encourages global engagement online and international audiences to have opposing opinions and engage in discourse surrounding aspects of the series, which can lead to either a rise in popularity or a significant detriment if the criticisms outweigh the praises, In Capital's case, it allowed internet platforms to critique and praise in the way traditional mediums do but also alowed social media platforms to form a discourse regarding representations and newer state of the nation tv programmes may adhere to the more liberalised and educated representations that the audience spoke up for. 

Foreign Language TV

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

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

• That they were seen as 'pretentious, dull and possibly, a little odd'

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

• The provision of foreign tv through an easily accessible streaming service. Making what was once a scarcity the focal point. 

What does it suggest about the popularity of subtitled material in the multi-screen age?

• Subtitles force the audience to be involved and glued to the screen. It demands their attention and then keeps it through compelling content, however, keeps the audience away from their phones/tablets during the duration of their show. 

What are the other audience pleasures of foreign TV drama suggested by the article?

•  Gaining insight into different cultures, Diversion through the complete focus demanded and Personal identity for minorities or immigrants around the UK, who hardly see themselves or their cultures represented at such a high density. 

What examples are provided of how TV companies are increasingly using audiences to inform the production process?

• Steven Moffat has included cross-referencing within his shows - particularly in Sherlock as he included a clue that could only be deciphered by the large Chinese following. The use of online forums and twitter hashtags makes the production aware of what the audience wants. 

Film School Rejects: the foreign tv dramas you're missing out on

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

• It premiered on a US network prior to a domestic German channel.

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?

• The premiere saw 3.19 million which dropped to 1.63 million at the finale in Germany. The UK saw the opposite with a peak of 2.13 million viewers. 

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

• SundanceTV and FremantleMedia, They announced a second season (Deutschland '86)

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

• The audience numbers as well as the reception of foreign media within the UK and US

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 a 'weekend pick' and interacts with fans on his twitter page to make foreign media  more accessible as many perceive this media to be 'relegated to the elite' and inaccessible to a casual viewer. 

Indiewire: The rise of international television

What does the article suggest regarding the difference between TV and film?

• Foreign films have a place in the arthouse circuit and a niche audience to promote to, whereas foreign tv is far less accessible due to legalities and the growing interest in remaking rather than giving foreign tv a platform.

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

• TV has to have culturally specific aspects in order to appeal to domestic viewers, in POW it focuses mainly on those who are prisoners of war, an 'open wound' in an Israeli society whereas in the US equivalent it was far more government specific with an agent investigating a returned soldier and the distrust of Americans regarding their government and agents amongst them. 

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?

• D83 adhered to a wide range of culturally ambiguous conventions, the fetishisation of the working class through the East would appeal to the working class of the UK, who theoretically indulge in shows like Eastenders, whereas the setting and behaviours of the West have an Americanised ambience and the German nostalgia is found sporadically through vocabulary choices and logos.

What does the article suggest about subtitling?

• Many people view subtitled media as obscure or difficult but it actually encourages engagement and is not as much of a 'deal breaker' as it once was.

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

•  The exposure to different cultures and clear international differences are what gains the appeal of audiences rather than the spoken languages. 

The Guardian: How tech is changing television

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

• 60', 30' and 15' due to licensing fees and programming slots available based on the idea that you were more likely to remember 6.30 over 6.13.

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

• By releasing all the episodes in one block, viewers have become accustomed to binge watching series' so viewers are now waiting for box sets to be released so they can watch them back to back so the endings of episodes and openings have to reflect this narrative structure and require huge cliffhangers or recaps.

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

• The demographic of watchers is much younger and the availability means that audiences can catch up on what they've missed on their own accord so the restrictions on complexity of narratives or cliffhangers are far more relaxed and you can take risks and not worry whether it will lose translation by the time the next episode is released.

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

• They are shot in blocks, so in order to maximise use of time and minimise costs these serial dramas are shot in a large density since they don't theoretically need dividing but shooting on an episodic basis still makes logical sense and is a recognisable convention for the audiences. 

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

• It has 'democratised criticisms' and allowed audiences to voice their opinions on the wins and losses of their favourite tv shows and the writers can take these criticisms on board and change or adapt for better viewing pleasures however due to the high density the feedback is not always relevant or justified and leads to unnecessary changes.

Postmodernism & Deutschland '83

What examples are provided of the breakdown of the distinction between culture and society (media-isation)?

• 'Bruno' and 'Borat' - interviewed in character
• The X Factor covers - John and Edward [Jedward] Queen cover

What is Fredric Jameson's idea of 'historical deafness'? How can the idea of 'historical deafness' be applied to Deutschland 83?

• Historical deafness is the idea that society is only privy to history as it is depicted throughout the media and are ignorant to the intricacies and realities of what actually occurred. This can be seen in the depiction of Eastern Germany in Deutschland '83 as a poor but happy society when in reality they were facing detrimental hardships and the reality would be much more melancholic.

What examples and theories are provided for the idea of 'style over substance'?

• People preferring to buy a Brand over quality.
• Reality TV has lead to celebrities being famous for being famous rather than identifiable talents or events.

What examples from music are provided for the breakdown of the distinction between art and popular culture? Can this be applied to Deutschland 83?

• Pop music (low culture) sampling classical musical (high culture)
• In D83, in western Germany they play 'Sweet Dreams' by Eurythmics, which is an iconic 80s pop song [low culture] being played in the pop art [high culture] and artistic supermarket setting 

What is bricolage? What examples of bricolage can be found in Deutschland 83?

• Bricolage is the juxtaposition of old and new texts, images, ideas and narratives to create new meanings and can be seen throughout D83. The cold opening scene with the Reagan speech on the tv, with the character watching, the opening title sequence with the merge of archive footage and new footage and the briefcase scene where the character is looking at old files but in new footage.

How can the audience pleasures of Deutschland 83 be linked to postmodernism? Read 'The decline of meta-narratives' and 'Media texts and the postmodern' to help answer this.

• Audience's can find a sense of nostalgia in the pastiche of the series but also the aspect of surveillance through the archive footage and the contextualisation of this archive footage makes it easier to blur the lines of reality/fiction and makes personal relationships more prevalent.

Choose three of the concepts and write an example from Deutschland 83. 

• The Supermarket scene is one of the most explicit examples of postmodernism. The bright colours and unrealistically full shelves within the supermarket, could be interpreted as a pastiche to the late 60s pop art artist Andy Warhol, whereas the 80s store fronts and clothing gives a sense of realism and blurs the line between realism/fiction for the audience.

How does Deutschland 83 demonstrate aspects of the postmodern in its construction and ideological positioning?

• The show is based off of real events and is a period drama. It contains historically accurate information however surrounding fictional characters. The setting and props used are time appropriate and many of the scenes regarding the political unrests hold some truth but have gone through dramatisation and it makes it difficult for an audience to decipher where the reality ends and the fiction begins. 

Which key scenes from Deutschland 83 best provide examples of postmodernism? Why?

• The cold opening of D83 is an example of bricolage, with archive footage being played and juxtaposing the fictional setting. 
• The supermarket scene is an example of pastiche. A homage to the pop art concept of the 60s and colourful and nostalgia inducing habits of the 80s through the clothing and music.
• The spy montage scene, although it is meant to have aspects of realism, the intertextuality within references films such as James Bond, which amplifies the fictional aspects.

Why might audiences enjoy the postmodern aspects of Deutschland 83? What audience pleasures might elements of bricolage or pastiche provide viewers?

• The pastiche of the 80s is a prevalent audience pleasure with shows such as Stranger Things and Bandersnatch also conforming to this 80s aesthetic. It offers a nostalgic element but also an aesthetic value for audiences. The bricolage also allows audiences to 'learn' the history behind the show, without it playing like a documentary. There is entertainment value within the surveillance and appeals to a wider audience.