The rise of foreign-language TV: blog task
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:
1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
Subtitles are shown in a positive light where it states ''When you read subtitles, you have to be glued to the screen''- this therefore is a welcome enforcement for our focus. Because we are concentrated, it gives the audience pleasure by intensifying the experience. This wasn't the same case, with the traditional audience whereby they found subtitles very pretentious, dull and, possibly, a little odd.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Luzzolino suggests that ''you develop a love for the distant world because while you're watching, your'e in Sweden''. If you see something amazing set in a different country like Argentina being the houses and the people, then that is the biggest appeal. He quotes ''There is a huge pleasure in that''.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
It suggests that subtitles have gained popularity as before the audience used to get frequently distracted from their TV viewing twitter feeds and pinging Whats App but subtitles help enforce the audience to focus and gain full pleasure. It is popular as it allows the audience to concentrate
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Another audience pleasure is where foreign-language dramas are often remade for the Anglo-American market (The Bridge) which is a fundamental part of audience appeal. Deeks quotes ''We all love getting that insight into a different culture''. ''The unfamiliar setting gives a freshness to genre pieces''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?
Moffat has included intertextual references in his shows, specifically with Sherlock as he included a clue that could only be understood by Chinese audiences. Online interactions with accounts managing the show production has allowed them to hear what the audience actually wants.
Walter presents
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?
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. Which faces a serious global appeal.
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?
Whilst it received significantly fewer viewers in the US and Germany with its US premiere garnering 0.066 million viewers compared to Germany’s 3.19 million, the series proved more successful in the US than its homeland. This maybe beucase the audience in Germany would rather not be reminded of their past or may not portray the right information which dissatisfies the German audience.
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
After a time of vulnerability encompassing its recharging, SundanceTV and FremantleMedia at long last reported in October that there will be a subsequent arrangement called Deutschland 86.
4) What does the article suggest was the driving force behind the series being renewed for a new season (and possibly two new seasons)?
What its dull reaction in Germany, its evident the US basic gathering and UK's record-breaking viewership have a task to carry out in restoring the show.
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?
Walter every now and again posts on his Facebook page and draws in with his watchers over on Twitter as it's unimaginable not to wind up charmed in the experience.
IndieWire: The rise of international Television
Presently take a gander at this IndieWire highlight on the ascent of worldwide TV. In the event that the site is blocked, you can get to the content from the article here. Answer the inquiries underneath:
1) What does the article suggest regarding the difference between TV and film?
The article recommends, TV will in general feel all the more socially explicit and custom fitted to local tastes as it gets funneled into your home and for some, individuals fills in as varying media backdrop out of sight while their consideration is mostly centered somewhere else, something that is outlandish when you need to depend on captions just to comprehend and appreciate the activity.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
On making 'Detainees of War' into 'Country' for example, maker Gideon Raff noticed that the first arrangement concentrated on the encounters of and the possibility of POWs, which he called an 'open injury in Israeli society. 'The Returned' which had pulled in noteworthy basic applause in its keep running here feels unquestionably Gallic in its rhythms and its characters notwithstanding its language.
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?
I trust Deutschland 83 had the option to transcend these social contrasts on the grounds that the distinctions were not as uncommon in contrast with different dramatizations social contrasts. Additionally, Deutschland 83 was very Americanised making it simpler for US crowds to comprehend a German show significantly better.
4) What does the article suggest about subtitling?
Individuals' view of captions films, not to mention subtitled TV shows is that they're extremely diligent work-to some degree obscure,agreed Sundance Channel President Sarah Barnett. 'What we adored about this piece was that the class idea of it to us exceeded the implication of the subtitled TV appear. The nature of the work and the capacity for it to truly draw in would be there paying little respect to the captions'. At last, while there was opposition communicated on Twitter with respect to the arrangement, it was anything but a noteworthy kickback and there was at first an amazement.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
Van Sandt discloses that individuals love to find out about how other individuals live as it is the thing that individuals inclined toward. The way that the person communicates in English carries the American group of spectators into the show and you begin to live the show and Norway the manner in which the character does and following a couple of minutes you disregard the captions.
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 three most successive lengths of TV and radio programming - alluded to on authorizing frames as 60, 30, 15 - emerged from a lattice calendar structured around hours and half-hours so as to make programs simple to discover. What's more, inside that calendar, BBC and ITV wrongdoing shows - state, Line of Duty and Broadchurch have unmistakably various rhythms since permit charge subsidizing grants a 59 minute continuous scene, while publicizing on a business system orders a content of 46 minutes that is broken three or multiple times for advertisements.
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
With gushing systems discharging the majority of the scenes in a single square and numerous watchers of standard TV indicates now holding up until every one of the scenes can be looked as a crate set makers of TV fiction have needed to reconsider, particularly as spilling administrations, for example, Netflix have made a stage that enable individuals to marathon watch the whole arrangement at whatever point they need to.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
Progressively perplexing storylines keep the group of spectators snared in as they are locked in each scene needing to recognize what will occur and the crowds additionally give much more consideration to the show. With a spine chiller for earthbound TV you will in general have a recap toward the beginning of every scene except with spilling video on interest you can get straight on with the story.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
Television shows to a great extent adhere to these 45 or hour long scene group so they can boost the utilization of the time given and limit all expenses related with the generation of every scene.
5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
Lasting all day, every day availability has profoundly changed watcher reactions. Live-tweeting by spectators has helpfully shown analysis however the drawback of this new media association has been in giving the old media a stick with which to beat supporters. Live tweeting enables crowds to associate and cooperate better.
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:
1) What does the article suggest regarding the traditional audience for foreign-language subtitled media?
Subtitles are shown in a positive light where it states ''When you read subtitles, you have to be glued to the screen''- this therefore is a welcome enforcement for our focus. Because we are concentrated, it gives the audience pleasure by intensifying the experience. This wasn't the same case, with the traditional audience whereby they found subtitles very pretentious, dull and, possibly, a little odd.
2) What does Walter Iuzzolino suggest is the key appeal of his 'Walter Presents' shows?
Luzzolino suggests that ''you develop a love for the distant world because while you're watching, your'e in Sweden''. If you see something amazing set in a different country like Argentina being the houses and the people, then that is the biggest appeal. He quotes ''There is a huge pleasure in that''.
3) The article makes an interesting claim for the popularity of subtitles in the multi-screen age. What does it suggest?
It suggests that subtitles have gained popularity as before the audience used to get frequently distracted from their TV viewing twitter feeds and pinging Whats App but subtitles help enforce the audience to focus and gain full pleasure. It is popular as it allows the audience to concentrate
4) What are the other audiences pleasures of foreign TV drama suggested by the article?
Another audience pleasure is where foreign-language dramas are often remade for the Anglo-American market (The Bridge) which is a fundamental part of audience appeal. Deeks quotes ''We all love getting that insight into a different culture''. ''The unfamiliar setting gives a freshness to genre pieces''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?
Moffat has included intertextual references in his shows, specifically with Sherlock as he included a clue that could only be understood by Chinese audiences. Online interactions with accounts managing the show production has allowed them to hear what the audience actually wants.
Walter presents
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?
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. Which faces a serious global appeal.
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?
Whilst it received significantly fewer viewers in the US and Germany with its US premiere garnering 0.066 million viewers compared to Germany’s 3.19 million, the series proved more successful in the US than its homeland. This maybe beucase the audience in Germany would rather not be reminded of their past or may not portray the right information which dissatisfies the German audience.
3) Who are the two production and distribution companies behind Deutschland 83 and what did they announce in October?
After a time of vulnerability encompassing its recharging, SundanceTV and FremantleMedia at long last reported in October that there will be a subsequent arrangement called Deutschland 86.
4) What does the article suggest was the driving force behind the series being renewed for a new season (and possibly two new seasons)?
What its dull reaction in Germany, its evident the US basic gathering and UK's record-breaking viewership have a task to carry out in restoring the show.
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?
Walter every now and again posts on his Facebook page and draws in with his watchers over on Twitter as it's unimaginable not to wind up charmed in the experience.
IndieWire: The rise of international Television
Presently take a gander at this IndieWire highlight on the ascent of worldwide TV. In the event that the site is blocked, you can get to the content from the article here. Answer the inquiries underneath:
1) What does the article suggest regarding the difference between TV and film?
The article recommends, TV will in general feel all the more socially explicit and custom fitted to local tastes as it gets funneled into your home and for some, individuals fills in as varying media backdrop out of sight while their consideration is mostly centered somewhere else, something that is outlandish when you need to depend on captions just to comprehend and appreciate the activity.
2) What cultural differences are highlighted in the article - for example in turning 'Prisoners of War' into 'Homeland' when remade in the US?
On making 'Detainees of War' into 'Country' for example, maker Gideon Raff noticed that the first arrangement concentrated on the encounters of and the possibility of POWs, which he called an 'open injury in Israeli society. 'The Returned' which had pulled in noteworthy basic applause in its keep running here feels unquestionably Gallic in its rhythms and its characters notwithstanding its language.
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?
I trust Deutschland 83 had the option to transcend these social contrasts on the grounds that the distinctions were not as uncommon in contrast with different dramatizations social contrasts. Additionally, Deutschland 83 was very Americanised making it simpler for US crowds to comprehend a German show significantly better.
4) What does the article suggest about subtitling?
Individuals' view of captions films, not to mention subtitled TV shows is that they're extremely diligent work-to some degree obscure,agreed Sundance Channel President Sarah Barnett. 'What we adored about this piece was that the class idea of it to us exceeded the implication of the subtitled TV appear. The nature of the work and the capacity for it to truly draw in would be there paying little respect to the captions'. At last, while there was opposition communicated on Twitter with respect to the arrangement, it was anything but a noteworthy kickback and there was at first an amazement.
5) What does Sopranos actor Steven Van Zandt suggest is the appeal in foreign television drama?
Van Sandt discloses that individuals love to find out about how other individuals live as it is the thing that individuals inclined toward. The way that the person communicates in English carries the American group of spectators into the show and you begin to live the show and Norway the manner in which the character does and following a couple of minutes you disregard the captions.
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 three most successive lengths of TV and radio programming - alluded to on authorizing frames as 60, 30, 15 - emerged from a lattice calendar structured around hours and half-hours so as to make programs simple to discover. What's more, inside that calendar, BBC and ITV wrongdoing shows - state, Line of Duty and Broadchurch have unmistakably various rhythms since permit charge subsidizing grants a 59 minute continuous scene, while publicizing on a business system orders a content of 46 minutes that is broken three or multiple times for advertisements.
2) How have streaming services such as Netflix or Amazon Prime changed the way TV drama narratives are constructed?
With gushing systems discharging the majority of the scenes in a single square and numerous watchers of standard TV indicates now holding up until every one of the scenes can be looked as a crate set makers of TV fiction have needed to reconsider, particularly as spilling administrations, for example, Netflix have made a stage that enable individuals to marathon watch the whole arrangement at whatever point they need to.
3) Why has the rise in streaming led to more complex storylines and an increase in cliffhangers?
Progressively perplexing storylines keep the group of spectators snared in as they are locked in each scene needing to recognize what will occur and the crowds additionally give much more consideration to the show. With a spine chiller for earthbound TV you will in general have a recap toward the beginning of every scene except with spilling video on interest you can get straight on with the story.
4) How have the "economics of production" kept TV drama largely sticking to the 45- or 60-minute episode format?
Television shows to a great extent adhere to these 45 or hour long scene group so they can boost the utilization of the time given and limit all expenses related with the generation of every scene.
5) How has "permanent 24/7 connectivity" changed both the production and consumption of TV drama?
Lasting all day, every day availability has profoundly changed watcher reactions. Live-tweeting by spectators has helpfully shown analysis however the drawback of this new media association has been in giving the old media a stick with which to beat supporters. Live tweeting enables crowds to associate and cooperate better.
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