Television industry contexts: 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?

subtitles are a welcome enforcement for us to focus. "When you read subtitles, you have to be glued to the screen

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

Fiction has an important role admits luzzolino 

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

we're frequently distracted from our TV viewing by Twitter feeds and a pinging WhatsApp, subtitles are a welcome enforcement for us to focus

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

Another pleasure is surveillance learning about the country and also its past 

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?

Premiering on AMC Network’s Sundance TV in June 2015, the show was the first German-language TV series to premiere on a US 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?

Channel 4 saw viewing figures reach a peak of 2.13 million viewers, the figures had fallen down to 1.63 million — it’s lowest figure by the conclusion 

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

SundanceTV and FremantleMedia finally announced in October that there will be a second series of Deutschland 83

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?

Iuzzolino posting a “Weekend Pick” on his Facebook page and engaging with viewers on Twitter, it’s impossible not to become engrossed in the experience. As Iuzzolino says, in the UK subtitled and foreign productions are “relegated to the elite” and the art-house

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

1) What is happening to UK public service broadcasters like the BBC and Channel 4 when it comes to TV drama? 

BBC and Channel 4 – to fund the kind of high-end TV dramas that viewers now take for granted in the streaming era.

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 was worth £5.1bn, Since then, almost £2bn in annual spend has disappeared, although the latest BFI figures show a slight uptick to £3.4bn 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? 

for independent film productions up to £15m, as psbs are not for profit this creates a scenario when they are losing lots of money and as they don’t up there price 

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

 the current trials, tribulations and financial pressures

Media Magazine: Netflix and the Cultural Industries

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

A significant shift in cultural production 

2) What is technological convergence?

Technological convergence is the merging of distinct technologies into a unified system or device

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

Traditional media and print have seen a fall in popularity due to the internet as technological companies haven’t had to invest in a large amount of money for a distribution network 

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?

Netflix has become ubiquitous and does not have, like traditional media companies, another source of revenue