The rise of foreign-language TV: Blog tasks

The rise of foreign-language TV: Blog tasks

To continue our work on Deutschland 83, we need to read a range of articles on the foreign-language TV phenomenon. When answering the 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. 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?

The article suggests "Fifteen years ago, if you'd mentioned to a colleague that you'd spent Saturday night glued to a subtitled European drama, you'd have been quietly declared pretentious, dull and, possibly, a little odd."

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

Walter Luzzolino suggets that "Walter Presents is a unique proposition. Its flagship show Deutschland 83 will premiere on Channel 4 on 3 January, while other shows will appear on More4. The rest will be drip fed to us throughout 2016 via the All4 platform, where series will be consumed in the form of box sets."

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

The article suggests that when you read subtitles, you are glued to the screen. In other words, you're more attached and aware on whats going on.

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

Some of the audience pleasures of foreign TV drama is that the audience are getting a insight into different cultures. The unfamiliar setting gives a freshness to the genre pieces.

Now look at the bonus article - on Sherlock and how viewers are steering their favourite shows.

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

"Fiction has an important role," admits Iuzzolino. "Channel 4 has always had a core remit of being there as the young, intelligent channel that reflects society for what it is. It's urban, real and multicultural. The world is smaller with the internet and migration. "


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?

The article tells us that Deutschland 83 received significantly fewer viewers in the US than Germany, with its US premiere gathering 0.066 million viewers compared to Germany's 3.19 million.

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 German premiere had 3.19 million viewers. Each new episode saw that figure drop, and by the series’ conclusion the figures had fallen down to 1.63 million — it’s lowest figure.

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

The two production and distribution companies behind Deutschland 83 is SundanceTV and FremantleMedia. SundanceTV and FremantleMedia finally announced in October that there will be a second series of Deutschland 83 (called Deutschland 86, more likely than not followed by the pivotal year of 89).

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

 With this foreign drama revival spurred on by the series’ foreign viewers, questions surrounding the power of American/UK audiences and critics arise. The spy thriller’a presence in American television signifies that there is not just room for foreign and subtitled drama in an era when TV shows are frequently becoming more daring than feature films, but that audiences both want it and have an impact into whether it comes back.

5) 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?


Whilst Sundance TV provides their viewers with numerous foreign dramas, the TV channel and its streaming service also ventures into English language series as well as feature-length films. Like with the foreign dramas and films on Netflix, Amazon Prime, and so on, they are often surrounded by more familiar and/or promoted English-speaking shows.
IndieWire: The rise of international television

Now look at this IndieWire feature on the rise of international television. If the website is blocked, you can access the text from the article here. Answer the questions below:

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

" TV tends to feel culturally specific, tailored to domestic tastes — it gets piped into your home, and for many people serves as audiovisual wallpaper in the background while their attention is mainly focused elsewhere, something that’s impossible when you have to rely on subtitles to understand the action. While Hollywood studios are increasingly in the business of making films that have as much (if not more) appeal abroad than in the U.S. market, the small screen still frequently serves as a reflection of its viewers."
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?

"On making “Prisoners of War” into “Homeland,” for instance, creator Gideon Raff noted that the original series focused on the experiences of and the idea of POWs, which he called an “open wound in Israeli society,” but that for the U.S. the emphasis was on the agent investigating the returned soldier, on a more American issues of distrusting the government and of a fears of agents among us."

3) 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?



4) What does the article suggest about subtitling?

The article suggests that people find subtitles really hard to keep up on as they'll have to read the subtitle within 3/5 seconds. Furthermore, subtitles can be very distracting for the audience as it is continuously changing.

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

Steven Van Zandt Speaking about the series, the second season of which premiered on Netflix last week, Van Zandt pointed out that before this point NRK had never sold anything internationally before. Serving as a writer and executive producer on the series as well as its lead actor, he suggested that “the way to make this more international is to make this more Norwegian. I want to know everything that is eccentric about Norway, different, funny, unique — all that I want to get into this show.”


The Guardian: How tech is changing television

Finally, read this Guardian feature on how tech is changing television. This has some particularly useful aspects from an industry perspective - how TV is made, the different formats of TV drama and more. Answer the following questions:

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

The tradition lengths for TV drama is 60 minutes, 30 minutes and 15 minutes. This arose from a girl schedule designed around hours and half-hours in order to make programmes easy to find.

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

Speaking about the series, the second season of which premiered on Netflix last week, Van Zandt pointed out that before this point NRK had never sold anything internationally before. Serving as a writer and executive producer on the series as well as its lead actor, he suggested that “the way to make this more international is to make this more Norwegian. I want to know everything that is eccentric about Norway, different, funny, unique — all that I want to get into this show.”

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

“Your form of storytelling has to reflect the fact that people could watch [the whole series] straight away. So the hooks at the end of every episode are very important. But you also have to think about how you give information. With a thriller for terrestrial TV, you tend to have a recap at the start of each episode. But, with SVOD [streaming video on demand], you can get straight on with the story.” - The Guardian

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

Dramas – regardless of how they will ultimately be screened – are usually shot in blocks. In order to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is filming, another team is prepping the next section. So, while a streamed drama theoretically need not be divided at all, it still makes logistical and financial sense to hire on episode basis.

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

"Permanent 24/7 connectivity has radically altered viewer responses. Live-tweeting by audiences has usefully democratised criticism, but the downside of this new media interaction has been in giving the old media a stick with which to beat broadcasters. Stories about alleged outrage over incomprehensible actors or violent action often turn out to be based on the fact that, from among millions of viewers, a tiny handful tweeted disagreeably." - The Guardian 

There is a fair amount of work here - the questions are not too challenging but there is plenty to read. However, this will prepare you brilliantly for the extended essay question in Media Paper 2 - particularly if the question focuses on industry or audience.

TV index: Capital & Deutschland 83

TV index: Capital & Deutschland 83

Your TV index should include the following:

1) Introduction to TV Drama
2) Capital: Case study
3) Capital: Marxism and Hegemony
4) Capital: Applying Marxism
5) Deutschland 83: Case study
6) Deutschland 83: Close-textual analysis notes
7) Deutschland 83: Postmodernism
8) Industries: The rise of foreign-language TV dramas
9) Industries: The impact of new/digital media on television
10) TV: 750-word exam question

TV: Exam question

Question 1

“Realism is a vital component of television drama”. To what extent does an analysis of your television close-study products support this view? [25 marks]

I believe that realism is a vital component to television drama because the audience should be able to relate to what they're watching or must at least have an idea on the topic. I think Capital successfully does this as they cover topics such as immigration which many people are affected by in London. Furthermore, I think Deutschland 83 successfully covers social and cultural context.

In Capital, realism is presented in many ways as immigration is a key topic in the show. The Zimbabwean immigrant was presented as vulnerable and sexually exploited as when she went to collect her pay from another Zimbabwean person, he took a bigger cut from her than usual. He then asked her for a kiss otherwise she would not get the hard earned money she worked for. This left her with no other option but to do so. Furthermore, the immigrants are portrayed as dodgy because she cannot have her hard earned money going straight into her account instead, she has to get it sent to someone else and they get a cut for helping her out. Within Capital, typical gender stereotypes are also presented as Roger is the male that goes to work and earns money for the family whereas, his wife is at home decorating the house and taking care of their children. Within Capital, class is also presented when the white family has a high paid job and lives in a modern house with a holiday home whereas, the Pakistani family live on the top of their shop and they all work in the corner shop.

On the other hand, Deutschland 83 presents realism in a numerous amount of ways as they cover the conflict between West & East Germany along with gender and how females were treated.

East Germany was communist. This is where they believed everyone is equal and should be treated equally whereas, West Germany was capitalist. This is where they believed that everyone should have their own freedom and they should be able to do what they'd like. East Germany was presented as more dull and grey whereas, West Germany was presented as more peaceful. Realism was also presented in Deutschland 83 when the gender stereotypes were reinforces such as the males going to war and fighting and the females were at home however, this could be argued as one of the females had a special role for their country and worked with the government. This subverts the gender stereotypes and supports more modern views such as women should be working if they'd like to. Scenes such as when the East Germany spy was in the office in West Germany going through the briefcase creates realism because point of view shots were used to make the audience to feel as if they're watching him go to the files secretly and someone could be watching him. Furthermore, the sound that was used when that was taking place created suspense for the audience.

In Deutschland 83, some family members were presented as enemies as Martin’s aunt got him kidnapped so he could spy on West Germany. This clearly illustrates that family means nothing to her as she got him drugged and taken to West German without his permission/consent.

In conclusion, I believe that realism is successfully shown throughout both the case studies as the topics covered are things we all can relate to. In London, immigration is something big that has been happening within the last 10/15 years and London is known to be culturally diverse. However, with immigration going on there has been a lot of problems such as people overstaying and committing crimes. Furthermore, in Deutschland 83 the problems between East and West Germany has been successfully shown as East Germany sent out a spy to spy on West Germany and take pictures of the top secret files of the plans they have against West Germany.

The impact of new/digital media on TV: blog task

The impact of new/digital media on TV: blog task

Go to our Media Magazine archive and read the article on Netflix and the Cultural Industries(MM63 - page 45). Create a blogpost called 'The impact of new/digital media on TV' and answer the following questions:

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

The ‘industry’ concept refers to the companies that create and distribute media texts, the standard practices of media production, as well as the regulatory and legal frameworks in which the companies operate.

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

Hesmondhalgh, broadly speaking, argues that since the 1980s there’s been a significant shift in cultural production. some of his main points are:
Cultural industries have moved closer to the centre of economic action.
There has been an increase in media corporations owning companies in different sectors of the industry.
Globalisation has meant media texts can circulate more easily across borders reducing North American dominance.
Deregulation has reduced public ownership.
Advertising ‘dollars’ have significantly increased as has cross promotion within texts.
Digitisation has allowed the technology sector to compete directly with traditional media companies.
Niche audiences are increasingly targeted.

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

One of the most significant points Hesmondhalgh has made regarding the change in cultural industries is that there has been an increase in media corporations owning companies in different sectors of the industry.
Another crucial point is niche audiences are increasingly targeted. The third most significant point Hesmonghalgh has made is that deregulation has reduced public ownership.

4) What is technological convergence? 



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

Technology companies have much more to offer whereas, traditional broadcasters don't. Technology companies allow the audience to watch programmes/series on demand so they never miss a episode whereas, traditional broadcasters in the TV industry usually have a time table and the audience have to be on the channel at the specific time their programme starts. If they miss the episode they'll have to deal with it.
6) What budgets will Netflix, Amazon and Apple spend on original programming next year according to the article?

Next year Netflix plans to spend $8bn on original material; Amazon’s budget is estimated at $4.5bn. Apple has recently joined the fray with a $1bn spend.

7) How many countries are Netflix and Amazon available in?

In 2016 Netflix simultaneously launched its service in 130 new countries, bringing its total to 190, and Amazon opened in 200.


8) 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 example Netflix used is the monster in Stranger Things named the ‘Demogorgon’ after a Dungeons & Dragons demon prince. To ensure that connection transcended language barriers, Netflix’s team dug into old D&D materials to nail down how various cultures translated ‘Demogorgon’ in the mid-1970s. Consequently the Demogorgon was renamed in some parts of the world based on what the demon prince of Dungeons & Dragons was called. In addition, they try to use the actors that regularly voice particular performers in foreign language versions.

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

Yes, I think technology companies such as Google, Facebook and Amazon will increase their interest in the television company as there is so much room for improvement along with a lot of money to be made for these technology companies.

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

Changes in technology influence the creation of TV dramas such as Capital or Deutschland 83 because it allows the audience to make whats going on in the world or what has happened in the world very realistic which will allow the audience to understand whats going on better.
You'll need to complete this for homework - due first lesson after Easter.

Postmodernism & Deutschland 83: blog task

Go to our Media Factsheet archive on the Media Shared drive and open Factsheet #54: Introduction to Postmodernism. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets - you'll need to save the factsheet to USB or email it to yourself in order to complete this at home. Read the factsheet and answer the following questions:

1) Read the section on Strinati's five ways to define postmodernity. What examples are provided of the breakdown of the distinction between culture and society (media-isation)?

Postmodern reality now incorporates art in the form of media texts and today we make sense of reality with reference to media texts. The media reality of an event or an object can be more ‘real’ for audiences than the object itself.

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

According to Jameson, this is the idea of historical deafness: Baudrillard argued that this culture perceives the ‘copy’ (media representation) as more real that the ‘original’ and stated that we live in a culture where the ‘fake’ is more readily accepted than the ‘real’ and the media creates hyper-reality.

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

An example of 'style over substance' is when people are strongly influenced by branding when buying products. The label sometimes becomes more important than the product itself and packaging more important than the contents. People will pay high prices for products which bear the logo of a fashionable label regardless of the actual quality of the product.

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

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

Bricolage is the juxtaposing of a old and new text, image, ideas and narratives to create new meaning.

6) 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.

Meta-narratives (or grand narratives (Lyotard) literally meaning ‘big stories’) are the ideas and concepts that have been used to attempt to explain the way the world is and the way it should be. Human history is full of these grand narratives from religion to political/economic theories. Communism, Fascism, Liberalism and
Socialism are some examples of grand narratives that have been applied in various contexts in the last 100 years.

7) Read the analysis of media concepts and postmodern approaches on page 3 of the factsheet. Choose three of the concepts and write an example from Deutschland 83. Clue: genre, representation, ideology and audience would all be good options for this task.

Postmodern texts play with genre codes and subvert them. Sometimes this is as simple as constructing a text that is a hybrid – a mix of more than one genre. In more complex texts the genre can be difficult to identify and may not be totally stable.

In Deutschland 83, there is a numerous amount of genres used. One of the genres that was being used in the series is the spy genre. Martin was told to spy in West Germany and because he disagreed, he was drugged and taken. 

Postmodern narratives experiment with conventional structures. Some postmodern narratives present events in a fragmented way that does not follow a chronology, some postmodern narratives fail to resolve and others ‘lie’ to the audience so they cannot be sure of what has actually happened within the story. Sympathetic villains and unsympathetic heroes are common place.

8) Now look at page 4 of the factsheet. How does Deutschland 83 demonstrate aspects of the postmodern in its construction and ideological positioning?

Whilst some contemporary media texts can be seen to be postmodern in their construction, many modern texts rely on traditional methods of construction. Some texts appear to ‘know’ they are postmodern whilst others can be seen to be part of the postmodern culture. In Deutschland 83, there is a clear rivalry between East And West Germany.

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

The scene where Martin was in the office accessing the briefcase, that created suspense and gave a real feel. He took pictures of the classified information and put it back together as if nothing had happened. As he was putting everything where is was he could hear people coming back to the room which created more suspense and a thrill for the audience.

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

Bricolage is the juxtaposing of old and new texts, images, ideas and narratives to create new meanings.

Pastiche refers to the media products that imitate the style of another text, artist or time period. Pastche is an example of intertextuality and takes positive view of original sources.