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.