The Rise of Foreign-Language TV
1) The fact that it has different conventions making it more enjoyable to watch for new audience thus making it more interactive for the viewer.
2) The fact that he picks out TV shows that he views as good or worthy to watch which then makes the audience want to watch it as they view the TV show as good and worthy to watch.
3) The fact that the subtitles are needed to watch the TV show makes it more important but also makes it easier to relate to the characters as you are able to understand what they are able to say.
4) Different conventions, the fact that you are able to to view and watch different cultures and areas in the world making it more interesting as you want to find out about the place and what it has to offer.
5) "Most, or perhaps all, long-form TV dramas have their dedicated websites, online forums and instant hashtag Twitter responses, and it's a truism to add that the internet has changed the way we watch TV."
1) "In a world filled with political dramas such as House of Cards, crime thrillers like Breaking Bad, comedy dramas such as Fargo, along with the dose of the surreal as seen in the posthumous Hannibal and this year’s Twin Peaks revival, it’s easy to understand why audiences don’t venture out of American television; it’s already so good."
2) "Whilst Deutschland ’83 received significantly fewer viewers in the US than 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."
3) "After a period of uncertainty surrounding its renewal, SundanceTV and FremantleMedia finally announced in October that there will be a second series of Deutschland 83 (called Deutschland 86, more likely than not followed by the pivotal year of 89)."
4) "The influx of streaming services and amount of attention currently on TV means that there’s more room than ever for foreign dramas, yet there’s also more space for sophisticated American dramas, too, with the movie-star driven Big Little Lies being one of the most recent examples."
5) Walter uses social media to attract audiences due to social media being easily accessible and makes it easier for it to be seen. Also, this makes it easier for new viewers to be interested. The reception is that it makes it more enjoyable for new audiences.
1) "Maybe it’s that, more so than film, TV tends to feel culturally specific, tailored to domestic tastes — it gets piped into your home, and for many people serves as audiovisual wallpaper in the background while their attention is mainly focused elsewhere, something that’s impossible when you have to rely on subtitles to understand the action."
2) "Homeland” is based on Israeli drama “”Hatufim” (Prisoners of War),” “The Killing” on Danish production “Forbrydelsen” (The Crime), and “The Returned” itself has been targeted for an English-language remake.
Prisoners of War
Maybe it’s that, more so than film, TV tends to feel culturally specific, tailored to domestic tastes — it gets piped into your home, and for many people serves as audiovisual wallpaper in the background while their attention is mainly focused elsewhere, something that’s impossible when you have to rely on subtitles to understand the action. "
4) "The influx of streaming services and amount of attention currently on TV means that there’s more room than ever for foreign dramas, yet there’s also more space for sophisticated American dramas, too, with the movie-star driven Big Little Lies being one of the most recent examples."
5) Walter uses social media to attract audiences due to social media being easily accessible and makes it easier for it to be seen. Also, this makes it easier for new viewers to be interested. The reception is that it makes it more enjoyable for new audiences.
1) "Maybe it’s that, more so than film, TV tends to feel culturally specific, tailored to domestic tastes — it gets piped into your home, and for many people serves as audiovisual wallpaper in the background while their attention is mainly focused elsewhere, something that’s impossible when you have to rely on subtitles to understand the action."
2) "Homeland” is based on Israeli drama “”Hatufim” (Prisoners of War),” “The Killing” on Danish production “Forbrydelsen” (The Crime), and “The Returned” itself has been targeted for an English-language remake.
Prisoners of War
Maybe it’s that, more so than film, TV tends to feel culturally specific, tailored to domestic tastes — it gets piped into your home, and for many people serves as audiovisual wallpaper in the background while their attention is mainly focused elsewhere, something that’s impossible when you have to rely on subtitles to understand the action. "
3) It could have been successful in Britain and America due to the fact the they know nothing about Germany and how it affected the country and its people, allowing them to believe a fictionalised story about that but it could have been the opposite in Germany.
4) "Like Barnett, Koh feels that subtitles carry with them the unfair connotation of a more demanding viewing engagement, though she hopes that Hulu’s wide range of international offerings might be opening audiences up to trying out programming from different countries."
5) "Starring “Sopranos” actor Steven Van Zandt ...as a writer and executive producer on the series as well as its lead actor, he suggested that, the way to make this more international is to make this more Norwegian. I want to know everything that is eccentric about Norway, different, funny, unique — all that I want to get into this show."
1) "Although streaming dramas can theoretically last anything from 60 seconds to 60 hours, there has so far been little structural experimentation. Episodes within a series may have unequal lengths, but the biggest hits of this revolution – The Crown, Stranger Things, House of Cards, Transparent – have chapter lengths that stay close to the half-hour or hour of traditional scheduled television."
2) "Greene’s rationed narratives. In order to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is filming, another team is prepping the next section. So, while a streamed drama theoretically need not be divided at all, it still makes logistical and financial sense to hire on episode basis."
"I think we’ll always have to split productions into time-groups," says Shindler. “Although the complication is that, in order to attract directors to film a block of episodes, they have to feel they are telling a whole story. So that affects structure as well. The trick is to have big story arcs within the overall story."
3) Streaming has led to more complex story lines as the audiences because studios want the audience to engage with the TV show more and also make their TV show more well-known and more important. It has also lead to more cliffhangers because the audience are more likely to continue watching as they no longer have to wait weekly but rather can watch the TV show as much as they want to. Cliffhangers and more complex story lines also allow the TV show to have more of a retention time.
4) "from the economics of production. Shindler explains to me that dramas – regardless of how they will ultimately be screened – are usually shot in blocks. In order to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is filming, another team is prepping the next section. So, while a streamed drama theoretically need not be divided at all, it still makes logistical and financial sense to hire on episode basis."
5) "Permanent 24/7 connectivity has radically altered viewer responses. Live-tweeting by audiences has usefully democratised criticism, but the downside of this new media interaction has been in giving the old media a stick with which to beat broadcasters. Stories about alleged outrage over incomprehensible actors or violent action often turn out to be based on the fact that, from among millions of viewers, a tiny handful tweeted disagreeably"
5) "Starring “Sopranos” actor Steven Van Zandt ...as a writer and executive producer on the series as well as its lead actor, he suggested that, the way to make this more international is to make this more Norwegian. I want to know everything that is eccentric about Norway, different, funny, unique — all that I want to get into this show."
1) "Although streaming dramas can theoretically last anything from 60 seconds to 60 hours, there has so far been little structural experimentation. Episodes within a series may have unequal lengths, but the biggest hits of this revolution – The Crown, Stranger Things, House of Cards, Transparent – have chapter lengths that stay close to the half-hour or hour of traditional scheduled television."
2) "Greene’s rationed narratives. In order to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is filming, another team is prepping the next section. So, while a streamed drama theoretically need not be divided at all, it still makes logistical and financial sense to hire on episode basis."
"I think we’ll always have to split productions into time-groups," says Shindler. “Although the complication is that, in order to attract directors to film a block of episodes, they have to feel they are telling a whole story. So that affects structure as well. The trick is to have big story arcs within the overall story."
3) Streaming has led to more complex story lines as the audiences because studios want the audience to engage with the TV show more and also make their TV show more well-known and more important. It has also lead to more cliffhangers because the audience are more likely to continue watching as they no longer have to wait weekly but rather can watch the TV show as much as they want to. Cliffhangers and more complex story lines also allow the TV show to have more of a retention time.
4) "from the economics of production. Shindler explains to me that dramas – regardless of how they will ultimately be screened – are usually shot in blocks. In order to maximise the use of time, and minimise the cost of actors and crew, while part of a drama is filming, another team is prepping the next section. So, while a streamed drama theoretically need not be divided at all, it still makes logistical and financial sense to hire on episode basis."
5) "Permanent 24/7 connectivity has radically altered viewer responses. Live-tweeting by audiences has usefully democratised criticism, but the downside of this new media interaction has been in giving the old media a stick with which to beat broadcasters. Stories about alleged outrage over incomprehensible actors or violent action often turn out to be based on the fact that, from among millions of viewers, a tiny handful tweeted disagreeably"
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