TV Context

  Television industry contexts: Blog tasks

To finish our work on television, we need to complete some tasks exploring industry contexts around foreign-language TV, the changing audience for television and how streaming impacts the way audiences consume TV. Indeed, when answering these 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. If the website is blocked or forcing you to register you can access the text of the article here. 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?

It used to be seen as niche and pretentious. Only a small group of people watched it.

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

The shows are popular, well-made, and tell good stories. They are big hits in their own countries.

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

Subtitles make people focus. You can’t look at your phone so you have to watch the screen.

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

People enjoy seeing other cultures. The shows cover universal themes like love and conflict.

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?

It aired in the US before Germany. Germany got it five months later.

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?

Germany had 3.19 million for the first episode. It dropped to 1.63 million for the last. Channel 4 got 2.13 million viewers.

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

SundanceTV and FremantleMedia. In October, they announced a second series: Deutschland 86.

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?

He posts “Weekend Pick” on Facebook. He talks with viewers on Twitter. He says this helped make foreign shows more popular in the UK.

The Guardian: How Britain's TV industry is struggling in the streaming era

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? 

They are spending less on drama. US streamers are spending more. UK broadcasters can’t keep up.

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 global premium TV market peaked at £5.1 billion in 2022. It has dropped by almost £2 billion, down to £3.4 billion last year.

3) What are the typical production costs per hour of high-end TV production? Why does this create a challenge for Britain's public service broadcasters? 

The typical production costs for high-end TV are around £5 million per hour. This is a challenge for British public service broadcasters because they have limited funds, and these high costs make it harder for them to compete with larger American streaming platforms

4) Look at the end of the article. Why is there still an optimism about the British TV industry?

Despite the financial struggles, there is still optimism because British content is of high quality. There's belief that demand for British drama will continue to grow globally, and that the market will eventually rebound as the industry adapts to changes.

Media Magazine: Netflix and the Cultural Industries 

Finally, go to our Media Magazine archive and read the article on Netflix and the Cultural Industries (MM63 - page 45). Answer the following questions:


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

• 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.

2) What is technological convergence? 

The digilitisation of media: The merging of technologies in which all media types can be displayed digitally.

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

Technology companies are challenging traditional broadcasters by "liberating" media texts from on demand viewing, while creating their own content at the same time

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 example used is the Netflix Original: Stranger things. Netflix kept in mind that the "Demogorgan" might not transcend language barriers, therefore researched traditional 1970's DnD translations for the Demogorgan in order to not lose anything in translation.

There is a fair amount of work here - the questions are not too challenging but there is plenty to read. Feel free to answer the questions in bullet points if you find it quicker. Remember, this reading and notetaking will prepare you brilliantly for the extended essay question in Media Paper 2 - particularly if the question focuses on industry or audience.