TV: Industry contexts
Television industry contexts
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:
The article suggests that foreign-language subtitled media used to be quite niche and mainly watched by older, more educated or “high culture” audiences. It was seen as something quite specialised, not mainstream, and not something the average viewer would usually choose.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?Luzzolino suggests the main appeal is strong storytelling and high-quality drama, not just the fact it’s foreign-language. He says audiences are more interested in well-written, gripping narratives and complex characters, and the subtitles don’t really put people off anymore because the stories are so engaging.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?It suggests that in the multi-screen age, people are actually more used to subtitles because they’re often distracted or using multiple devices at once. So subtitles help people follow what’s going on, making foreign dramas easier to watch rather than harder, especially for modern audiences who aren’t fully focused on one screen.
4) What are the other audiences pleasures of foreign TV drama suggested by the article?The article suggests audience pleasures like diversion, as viewers are able to experience different settings and environments that feel new compared to UK or US (Western) dramas. It also links to escapism, because audiences can get interested into more authentic and realistic foreign experiences. Also, it connects to surveillance, since viewers also learn about different cultures and ways of life while watching, which gives them insight into places they wouldn’t normally see.
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. Answer the following questions:
1) What does the article tell us about Deutschland 83's release schedule?
Deutschland 83 actually premiered in the US first on Sundance TV before being shown in Germany
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?In Germany, it launched with around 3.19 million viewers, but this fell to about 1.63 million by the final episode, showing a clear decline. In the US, it only attracted around 0.06 million viewers, so it performed a lot better in Germany even though it had international appeal.
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?The show was backed by UFA Fiction and FremantleMedia, and they announced a second series, Deutschland 86, in October, suggesting they still had confidence in the franchise despite the drop in ratings.
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?Luzzolino uses things like Facebook and Twitter to post “Weekend Pick” recommendations and interact with viewers, which makes foreign dramas feel more “handpicked” and personal. This has helped shift the idea that subtitled dramas are just for a niche or “elite” audience, making them seem more accessible and appealing to a wider UK audience.
Read this Guardian feature on how Britain's TV industry - particularly public service broadcasters - are struggling to keep up with the American streaming giants. Answer the following questions:
1) What is happening to UK public service broadcasters like the BBC and Channel 4 when it comes to TV drama?
UK public service broadcasters such as the BBC and Channel 4 are struggling to fund high-end TV drama. Rising production costs mean they are being priced out of the market, leading to fewer commissions, cancelled or delayed projects, and a reliance on co-productions because they cannot fully fund shows themselves.
2) Look at the middle of the article where global budgets are discussed. What was the peak of the global premium TV streaming market and what has it dropped to in recent years?The premium TV market peaked in 2022 at around £5.1 billion, but has since fallen, with almost £2 billion in annual spending disappearing, dropping to around £3.4 billion more recently.
High-end TV dramas can cost up to around £5 million per hour. This is a problem for public service broadcasters because their budgets are much smaller, so they can’t keep up with the level of spending from streaming platforms. It makes it harder for them to produce big, high-quality dramas regularly or compete for audiences.
4) Look at the end of the article. Why is there still an optimism about the British TV industry?There is still optimism because it’s seen more as a “reset” than a full crisis. The UK still has strong creative talent and a reputation for high-quality drama, and there’s confidence that demand for British content will continue. So even though things are difficult now, the industry is expected to adapt and stay successful.
1) What does David Hesmondhalgh argue with regards to how the creative industries have changed since the 1980s?
Hesmondhalgh argues there’s been a major shift, with cultural industries becoming more central to the economy. There’s more globalisation, less public ownership due to deregulation, and digitalisation has allowed tech companies to compete with traditional media.
It’s when different types of media come together through digital technology, so everything can be accessed on the same device, like through the internet and computers.
3) How are technology companies challenging traditional broadcasters in the TV industry?They distribute content online instead of scheduled TV, using subscription services and producing their own content. This lets them reach global audiences more easily and compete directly with broadcasters.
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?The article uses Stranger Things, where references like the “Demogorgon” are adapted and translated for different cultures, and dubbing uses familiar actors to make it more accessible globally.
The article shows that when TV shows are adapted, they change to fit different cultures, like Prisoners of War focusing on family and trauma in Israel but Homeland becoming a US CIA thriller shaped by post-9/11 fears about terrorism and security. It also links this to technology, where streaming and global distribution have made shows like Capital and Deutschland 83 easier to produce and export, with higher production values and more complex, bingeable storytelling designed for international audiences.
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