The rise of foreign-language TV: Blog tasks
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?
The article suggests that traditional audiences for foreign language subtitled media was not really common compared to now in modern society as majority of the things from history are normally re made and then presented in the UK.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
He claims that it is simple down to the material within complex cinema as before there was a community who would simply watch for intellectual reasons
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 now as there are more shows with subtitles audiences have to focus more and can't have that many distractions whilst watching.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Other audience pleasures may be the fact that there is chance to see other cultures and experience a new insight rather than seeing the same thing as Iuzzolino suggests that "You develop a love for the distant world because while you're watching, you're in Sweden," he says. "If you see something amazing set in Argentina, then Argentina itself, the houses, the people, what they wear, what their voices sound like, the language, is one of the biggest appeals. There is a huge pleasure in that."
This means that it gives audiences a different kind of pleasure.
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?
The examples that are provides of how TV companies are increasingly using audiences to inform the production process is Moffat in doctor who also addresses the show fans and doesn't make it available to a niche audience as popularity would not grow.
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?
This show was the first German show to be release on the US network and had fewer viewers than in Germany and the series became a very big success as it was very high rated on rotten tomatoes and Walter presents presented this show which provided viewers with numerous aspects of foreign TV drama.
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 viewing figures were 3.19 million and channel 4's viewing figures were 2.13 million and bought in expressive reviews about foreign dramas.
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
The production company and distribution company Sundance TV and Fremantle media announced there will be a second series of Deutschland 83.
4) What does the article suggest about subtitling?
The article suggests that now dramas and TV shows are becoming more daring than feature films and allows us to get a new insight into different cultures.
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?
He claims that it allowed him to be exposed “to a lot of different textures, types, and cultural perspectives.” and uses social media by posting a weekend picture on twitter or Facebook to engage viewers to become engrossed in the experience.
IndieWire: The rise of international televisionNow 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?
The article states that TV is more culturally specific and is just there whilst you are doing something else whilst film is more appealing to audiences rather than just being a reflection for audiences.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
The differences were that the return of the soldiers experiences were emphasised much more in Prisoners of war through a agent who was doing this.
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?
This show was able to provide cultural differences and was successful because there was a sense of complexity within the drama and which attracted international audiences. Furthermore, portrays historical events within the war time and this provides surveillance for the audience.4) What does the article suggest about subtitling?
The article suggests that that subtitling is now a new sort of thing where audiences may or may not be comfortable with as a result and audiences may have to focus more as it requires more attention and opening up more varieties of shows for audiences.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
He believes that the appeal is the fact that there is a route of escapism provided for audiences as the show they watch they become so intrigued and which means that people get navigated as a result. This links in the with Blumler and Katz theory and links in with Diversion for entertainment purpose and claims that as a result you forget the subtitles.
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 traditional lengths for TV drama is around 50-60 minutes and some may also have adverts within them and they are dictated by the license fee funding permits or different commercial networks.
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
These streaming networks have changed the way narratives are constructed as now u can get more instant episodes and dramas and watch them whenever you want as there is no fixed set time. There is also catch up viewing as there is less of a chance that audiences will miss something as there is a seismic shift because producers are changing content.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
There is greater dramatic complexity as there be count downs in between or adverts which increase audiences expectations as a results and they want to continue to watch. This also enable to maintain suspense through the use of cliffhangers and conjure successive shocks.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
This has kept TV drama from sticking to 45-60 mins of drama by the shows being shot in blocks which means that the time it takes has to be increased whilst another part of the show is being filmed someone else may be doing something else so in the end it affects the structure of the show .
Comments
Post a Comment