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Media > LFTVDs (Long Form Tele Vision Dramas) > Flashcards

LFTVDs (Long Form Tele Vision Dramas) Flashcards

1
Q

outline the context of Netflix’s position at the release time of Stranger Things

A
  • in 2016, Netflix was threatened by 4 things;
  • creation of Amazon Prime + its stability due to other streams of income to support it (unlike Netflix)
  • Netflix has to rase subscription fees; as their previous buisness model of low fees wasnt sustainable for the long term
  • content on Netflix is reducing
  • their global growth isnt as hoped
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2
Q

what challenges did terrestrial and cable broadcasters face

A
  • by 2014, wired broadband, Wifi, 4G were widely available globally
  • 4G smartphones allowed series to be watched on demand, or binge watched over a long period of time
  • this challenged the scheduled programming model of terrestrial and cable broadcasters who relied on creating loyal audiences around shows
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3
Q

how has technological developments changed our TV engagement

A
  • TV can be watched whenever, wherever
  • we can pick the shows we want to watch
  • TV can be watched more frequently
  • audiences are more segmented - more likely to watch TV alone due to different preferences with a plethora of choice
  • audiences have an expectation of free and no ads
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4
Q

outline the 3 stage creation process of TV

A

1) production: filming, script writing, editing, securing rights, casting, location finding and managing
2) distribution: releasing it onto streaming platforms or cinema, marketing, film premiere, interviews, publicity
3) exhibition: the release

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5
Q

how has technological developments changed the creation process of TV

A
  • advertising is easier with social media
  • editing, filming, visual effects are easier and better
  • AI could be used for scripts
  • communication is quicker
  • thus, the whole process is made quicker and easier
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6
Q

define verisimilitude

A
  • verisimilitude = the creation of a believable world in a text
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6
Q

define horizontal and vertical integration

A
  • horizontal integration = an expansion strategy where a company owns multiple companies within an industry. e.g. Disney buying Pixar, Marvel etc
  • vertical integration = an expansion strategy where a company owns various stages of a production process within the same industry. e.g. 20th Century Fox, who creates (Fox Studios) their content and distrubutes it on their channels; Fox Broadcasting Channel
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7
Q

list the feature of Netflix’s primary audience

A
  • m/c parents (buying for family)
  • western watchers
  • 18-49 years
  • ABC1/ Mass Market
  • digital natives
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8
Q

what percent of all household have a Netflix subscription

A
  • 60%
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9
Q

define polysemic

A
  • polysemic = capable of having multiple meanings
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10
Q

what are the 6 films that have cultural references in ST

A
  • Alien (1979)
  • Carrie (1976)
  • Firestarter (1984)
  • Poltergeist (1982)
  • Stand by me (1961)
  • E.T. (1982)
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11
Q

outline the 3 waves of feminism

A

1) late 1800s: women wanted the vote / equal political rights
2) mid 1900s: was focused on the Civil Rights movements, sexual + reproductive rights of women
3) late 1900s: included WOC, focused on intersectionality

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12
Q

what genres does ST consist of + its effect

A
  • as its a hybrid genre, ST consists of;
  • teen, crime, sci-fi, horror, period, fantasy
  • this allows the show to appeal to more groups of people
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13
Q

outline the binary oppositions between the East + West of Germany

A
  • East (COMMUNISTS): economic struggle, the system is disliked by society (political unrest), hunger + poverty, very harsh social control/ censorship, fear form people used as a form of control
  • West (CAPITALISTS): economic prosperity, society likes the system, little to no control/ oppression, more choice
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14
Q

how was Deutschland 83 written with its streaming platform in mind

A
  • D83 was written with ad breaks in mind, unlike ST
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15
Q

state some facts about D83 being a foreign show

A
  • after its launch in 2015 on Channel 4, D83 became the UK’s highest rates foreign lanugage drama with over 3M viewers
  • was the first series to be brought on by an American broadcaster before being shown in Germany
16
Q

what was the German audiences reaction to D83

A
  • D83 wasnt very popular in Germany
  • the viewer rates on RTL (where it was released) halved from the first to last episode of seaosn 1
  • the series is described as “a hit abroad, but a flop at home”
17
Q

outline the business model of D83 + criticisms of it

A
  • during the 1st season, D83 was produced by UFA Fiction and a German TV channel, RTL, that is not known for high quality, internationally acclaimed productions - some say D83 (a historical series) was too complex for RTL
  • RTL was criticised to have marketized D83 - a modern, quirky show - with old fashioned, dull advertisements
  • there was a weekly release of 2 episodes on RTL (with a total of 8 episodes), which isnt suited to the viewing habits of young audiences who prefer to binge watch
  • was distributed in 10 countries
18
Q

what are the positives of the current TV landscape

A
  • there are high quality dramas being created, with big stars, high budgets, great writing.
  • the subscription TV and internet model has reinvented TV
  • big streaming sites are bringing high revenue to the TV industry
19
Q

what are the negatives of the current TV landscape

A
  • the global TV companies will dominate the market at the expense of minority media companies / low budget media
  • this will lead to a lack of risk taking, more generic, stereotypical TV
20
Q

state how ST was a risk for Netflix and for some how it was mitigated

A
  • the time + $4M put into each episode, is a risk if its not gained back. this was mitigated by hiring Winona Ryder - older gen were more likely to watch as she’s an iconic cast member
  • young main characters is a risk if they cant act, are annoying, puberty
  • was made at a vulnerable time for Netflix
  • lacked big names
  • Duffer Brothers aren’t established directors. this was mitigated by Shawn Levy being an established producer
  • wasnt based on a previous book or film - theres no pre-sold audience
  • pastiches can be a hit or miss as they can be uninventive. this was mitigated by ST being a hybrid genre show, giving it broader appeal
21
Q

state how D83 was a risk for Channel 4/RTL/UFA Fiction and for some how it was mitigated

A
  • was the 1st German language show released in the US, people may not be interested. this was mitigated by D83 being released onto well known US + UK platforms and also had an American writer
  • had an unknown cast
  • was a period drama with no established audience. was mitigated by the soundtrack which had notable throwback songs
  • had a high budget
  • the political content (cold war) can be risky as people may not respond to it well
22
Q

who is the target audience of Deutschland 83

A
  • from Europe, German speakers, ABC1, fans of EU cinema + culture, 35-55, more politically + historically educated
23
Q

how was D83 marketed

A
  • created an interactive slideshow of East + West Berlin places before and after the reunification
  • propaganda style art posters, weekly 80s music playlists
  • Anna Winger (US writer) tweeted sharp, insightful running commentary
  • ASOS interview with Jonas May (the main character)
24
Q

outline Netflix’s marketing of ST

A
  • used the fandom/word of mouh for later seasons - St is full of spreadable content - it can be made into memes and merchandise,
  • Stephan King wrote a tweet applauding ST
  • partnership with Twitch - was a broadcast in which the opening 8 mins of the show was played
  • 360 degree interactive YouTube video of a set
25
Q

by ____, wired broadband, Wi-Fi and 4G were widely available

A
  • by 2016, wired broadband, Wi-Fi and 4G were widely available
26
Q

Netflix grew its subscriber base by nearly _____ between ______

A
  • Netflix grew its subscriber base by nearly 10 million between 2016-17
27
Q

outline the ownership of D83

A
  • funded and co-produced by RTL (a German TV channel)
  • RTL is a large, diversified company
  • RTL employed UFA Fiction who produced D83
28
Q

what was a large source of cost for the 2 shows

A
  • making them periodically accurate
  • D83: they needed to hire historians on both sides of German history (e.g. NATO advisers)
  • they needed to source + create historically accurate sets, costumes and props
29
Q

what was D83’s connection with Sundance TV

A
  • Sundance TV is an american platform
  • Winger, the writer, knew someone at Sundance TV which allowed D83 to be broadcasted in the US
  • Sundance TV is owned by AMC
30
Q

outline Channel 4’s relation to D83

A
  • the series was broadcast on Channel 4
  • Channel 4’s remit (motto) is to provide educational and entertaining content whilst being alternative to other streaming platforms
31
Q

outline Walter Luzzolino

A
  • is a foreign film and TV expert
  • has his programme ‘Walter presents’ in which he introduces more cultured content to audiences
  • is on Channel 4
32
Q

what was a large risk for D83

A
  • it was a foreign language show
  • Many people may not like to read subtitles
33
Q

who were notable cast members in D83

A
  • Maria Schrader: director of unorthodox
  • Sylvester Groth: starred in a Tarantino film
  • helps attract fans + makes it more marketable

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