Television: industry contexts
Independent: British viewers can't get enough of foreign-language dramas
1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
That 15 years ago it would have been odd to watch something with subtitles, but now in this society it is mainstream.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Its exclusivity due to the range of his foreign drama.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Its exclusivity due to the range of his foreign drama.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
We are frequently distracted by pings from twitter and WhatsApp so subtitles make as focused and glued to the screen.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
You grow love to where the drama is set, the houses, what the people wear from that country, the voices/accents and language.
Film School Rejects: The foreign TV dramas you're missing out on
1) What does the article tell us about Deutschland 83's release schedule?
Premiered on AMC Network's Sundance TV in June 2015 and was the first German TV show to be premiered on a US Network but the German Commercial RTL channel received it 5 months afterwards due to the global appeals.
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?
The premier in Germany had 3.19 million viewers, but dropped to 1.63 million by the end. Channel 4 had 2.13 million viewers on its peak.
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
SundanceTV and FreemantleMedia who announced that in October that there will be a second series called "Deutschland 86" (followed about Deutschland 89 in the pivotal year).
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?
Premiered on AMC Network's Sundance TV in June 2015 and was the first German TV show to be premiered on a US Network but the German Commercial RTL channel received it 5 months afterwards due to the global appeals.
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?
The premier in Germany had 3.19 million viewers, but dropped to 1.63 million by the end. Channel 4 had 2.13 million viewers on its peak.
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
SundanceTV and FreemantleMedia who announced that in October that there will be a second series called "Deutschland 86" (followed about Deutschland 89 in the pivotal year).
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?
Walter posts a "Weekend picture" on his facebook page and engaging with his viewers on twitter to make his audience engrossed into the setting.
The Guardian: How tech is changing television
1) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
Streaming services release all the episodes in one block so the audience can view the episodes at any time and can binge watch. This allows the audience to catch-up if they miss an episode.
2) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
Creating cliff-hangers makes the audiences continue watching the episodes when they finish, so the audiences get hooked.
3) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
Regardless of how they are screened, they are shot in blocks, so to maximise the time and minimise costs of actors and crew, whilst the drama is being filmed, some of the crew are preparing for the next section.
4) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
Streaming services release all the episodes in one block so the audience can view the episodes at any time and can binge watch. This allows the audience to catch-up if they miss an episode.
2) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
Creating cliff-hangers makes the audiences continue watching the episodes when they finish, so the audiences get hooked.
3) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
Regardless of how they are screened, they are shot in blocks, so to maximise the time and minimise costs of actors and crew, whilst the drama is being filmed, some of the crew are preparing for the next section.
4) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
Live tweeting by audiences had usefully democratised criticism and that stories of outrage on actors which are alleged. Production companies are criticised.
Media Magazine: Netflix and the Cultural Industries
1) What does David Hesmondhalgh argue with regards to how the creative industries have changed since the 1980s?
- Cultural industries have moved more to the economy center of action.
- Increase in media companies owning other sectors of industry
- Globalisation so texts can be more understood
- Deregulation reducing public ownership
- Digitalisation allowing technology to compete with traditional media companies
- Niche audiences more targeted.
The digitalisation of media, allowing every media form could be accessed on computers.
3) How are technology companies challenging traditional broadcasters in the TV industry?
Digitalisation and the ability to distribute texts over the internet. e.g. Amazon who were a book selling company, now distribute TV shows and movies, Netflix used to do DVD rentals but now also produce their own shows. Traditional DVD companies like Blockbuster went bust after Netflix.
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?
One of the monsters is named after a demon prince from a game. The producers had to go back to the 70's to find out about the name to relate to the audiences. Also some voices would be recognisable to different people depending on where they are from, so producers used voices for characters to make it recognisable to foreign audiences.
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