Television industry contexts: Blog tasks

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 suggests that watching foreign-language dramas used to be seen as something only “pretentious” or slightly odd people would do. It wasn’t considered mainstream or popular.

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

Walter believes that one of the main attractions is the immersive experience. When you watch a show set in another country—like Argentina—you’re drawn in not just by the story, but by the culture, the way people speak, how they dress, and what their surroundings look like. The language itself adds to the charm.

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

It points out that subtitles force viewers to really focus. You can’t scroll through your phone or do something else in the background—you have to stay glued to the screen, which actually makes for a more engaging viewing experience.

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

Another benefit is that people can actually pick up new languages or improve their understanding just by watching these shows. It becomes a kind of learning-through-entertainment experience.

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 premiered in June 2015 on Sundance TV in the U.S., making it the first German-language TV show to launch on an American network.

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, the first episode had 3.19 million viewers, but that dropped steadily to 1.63 million by the end of the series. In contrast, Channel 4 in the UK peaked at 2.13 million viewers, showing a stronger interest from British audiences.

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

The companies were SundanceTV and FremantleMedia. In October, they announced a follow-up series called 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 uses social media to build hype and introduce audiences to shows like Deutschland 83, promoting them during prime-time on well-known channels. This exposure, along with trailers and marketing, helped make foreign dramas more mainstream in the UK and opened up the audience to international content in general.

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’re struggling to afford big-budget dramas. Because streaming services like Netflix spend so much on content, prices have gone up, and broadcasters like the BBC and Channel 4 can’t keep up. Some shows are being cancelled or delayed because there just isn’t enough money.

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 peak was in 2022, when the market hit £5.1 billion. Since then, it’s dropped by nearly £2 billion, falling to £3.4 billion last year. Streamers are spending less now, focusing more on making profit than throwing money at content.

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? 

It can cost up to £5 million per hour to make these shows. That’s way too expensive for public broadcasters like the BBC, especially with inflation, advertising cuts, and a frozen licence fee. They just don’t have the budget to compete with streamers anymore.

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

Even though money is tight, the quality of British dramas is still very high and in demand. People in the industry believe the market will recover in the next year or so. They also think there are ways to adapt, like focusing on mid-range budgets or getting better support through tax breaks.

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?

He argues that there’s been a big shift in how culture is produced, especially with the rise of digital media and global platforms.

2) What is technological convergence? 

It’s basically the idea that because of digitisation, all types of media—TV, film, music—can now be accessed through the same devices, like computers or smartphones.

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

Companies like Amazon are no longer just selling or streaming content—they’re creating it too. Thanks to the internet and digital distribution, they can bypass traditional TV networks and reach global audiences directly.

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?

Because platforms like Netflix launch in so many countries at once, they now think globally when making content. One example is how Netflix launched in 130 new countries in 2016. Creating original content helps them save money on licensing and makes it easier to distribute shows worldwide, since they own the rights.

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.