TV: Industry contexts

Independent: British viewers can't get enough of foreign-language dramas

​1.) The article suggests that regarding the traditional audience for foreign language subtitled media, audiences are becoming more open to the act of watching foreign media via dubs/subtitles. 

2.) Walter Luzzolino suggests the key appeal of his “Walter presents” shows is due to its diversity in many of their aspects, using strong and “buzz” scenes to drag in audiences attentions in order to excite consumers for these global pieces of media.

3.) The article claims that for the popularity of subtitles in the multi-age screen is due to the recent growing (mass growing perhaps to generational differences, however there have always been a small group of people interested in international media) of popularity in foreign media is due to newer and younger generations consumption. Also there has been a wider acknowledgment of foreign cultures which include different kinds of media. 

4.) Another audience pleasure of foreign TV dramas could perhaps be escapism, maybe even just purely out of curiosity of different cultures which can be portrayed though their different forms of media. 

Film School Rejects: The foreign TV dramas you're missing out on

1.) The article quotes on Deutschland 83’s release to be premiered on AMC Network’s Sundance TV in June of 2015. The show was first released in German but then the show premiered on a US which proves its global appeal.

2.) The article’s statistics on viewing figures in Germany claims that Germany has significantly less viewers in the US than Germany, is US premier garnered 0.066 million viewers compared to Germany’s 3.29 million views.

3.) The two production and distribution companies between Deutschland 83 are FreemantleMedia international and UFA Fiction. In October 2016 they announced a second season.

4.) Walter Luzzolino uses social media to engage audiences in new international TV dramas mainly to promote and advertise TV dramas for audiences. He suggests this has changed the reception of foreign production in the UK since it’s become more mainstream due to its accessibility being much more attainable for consumers. 

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

1.) When it comes to TV drama, public broadcasters like Channel 4 and the BBC have provided evidence to MP’s on the culture select commute, overall funding the kind of high end TV dramas that viewers now take for granted in the streaming era (e.g. like through binge watching).

2.) The peak of the global premium TV streaming market was in 2022 fuelled by the race to restock content post Covid, the premium TV market was worth £5.1 billion. As of now £2 billion has been lost although BFI figures show a slight rise to £3.4 billion last year.

3.) The typical production cost per hour of high end TV production can exceed £1 million,  resting challenged for Britain’s public service broadcasters due to many issues like steaming competition and limited funding.

4.) However there is still optimism within the British TV industry, Garvie in particular quoting that “there is no question the UK is still riding high on the premium drama boom instigated by the global streamers”.

Media Magazine: Netflix and the Cultural Industries 

1.) David Hesmondhalgh argues with regards to his the creative industries have changed since the 1980’s through “tensions between radical shifts and significant continuities”.

2.) Technological convergence is “the tendency for previous unrelated technologies, systems or media to evolve, integrate and perform similar tasks often combining into a single unified device or platform”.

3.) Technology companies challenge traditional broadcasters in the TV industry from linear and scheduled presenting to on demand, internet delivered streaming.

4.) The global nature of modern television means producers are having to consider international audiences when creating content. The article claims that Netflix is a good example of this.