SOCIAL AND HISTORICAL CONTEXT - LFTVD.pptx

PPT on Stranger Things and D83

1. SOCIAL AND HISTORICAL CONTEXT LFTVD

2. LFTVD QUESTIONS SAMPLE 01: Why do long form television dramas from different countries offer different representations? SAMPLE 02: ‘Representations of social, cultural and historical events can vary within long form television dramas from different countries.’ Discuss how and why audiences might respond to and interpret these representations differently. Q. 2019: The differences in the codes and conventions of long form television dramas reflect the different values, attitudes and beliefs of the audiences that consume them.’ How far do you agree with this statement? Q. 2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all use intertextuality in the same way.’ How far do you agree with this statement? Q. 2021: ‘Audiences and producers no longer find the concept of genre relevant to long form television drama.’ How far do you agree with this statement? Q. 2022: ‘Long form television dramas produced in different countries always incorporate the dominant conventions, viewpoints and ideologies of those countries.’ How far do you agree with this statement?

3. LFTVD QUESTIONS SAMPLE 01: Why do long form television dramas from different countries offer different representations ? SAMPLE 02: ‘ Representations of social, cultural and historical events can vary within long form television dramas from different countries.’ Discuss how and why audiences might respond to and interpret these representations differently. Q. 2019: The differences in the codes and conventions of long form television dramas reflect the different values, attitudes and beliefs of the audiences that consume them.’ How far do you agree with this statement? Q. 2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all use intertextuality in the same way .’ How far do you agree with this statement? Q. 2021: ‘Audiences and producers no longer find the concept of genre relevant to long form television drama.’ How far do you agree with this statement? Q. 2022: ‘Long form television dramas produced in different countries always incorporate the dominant conventions, viewpoints and ideologies of those countries.’ How far do you agree with this statement?

4. SOCIAL AND HISTORICAL

5. SOCIAL AND HISTORICAL ‘Stranger Things’ is set in 1980s America, but the accuracy of depiction of the era (even its small-town setting) is questionable because it is more of an homage/tribute to cinema and in particular the work of Spielberg in the late 70s and early 80s. The Duffer brothers were born in 1984, so they are clearly not calling on real historical experience, instead, they are developing an historical setting that is shaped by nostalgic exploration of 1980s America. This extensive use of intertextuality means that the depiction of the historical setting mirrors the traditional family values that build on the myths and iconography of the American Dream that characterises Spielberg's work. For example, the nuclear family, picket fences, green lawns, nerdy boys on bikes. We could argue that the exploration of gender relationships is historically accurate in that it depicts the pressures of gender relations coming under strain as traditional ideological systems were being challenged. However, this may be an example of the Duffer brothers bringing in modern representational subversions to counter the patriarchal 80s American society and appeal to a modern audience. For example, Joyce is a single parent working mother struggling to hold her family together, but she is determined and forceful, influencing Hopper to look for Will. We cannot lose sight of the possibility that this may be a generic convention being repeated by the Duffer brothers, after all the determined mother is a well-known trope of Sci Fi fiction. Nancy subverts cultural and social codes and conventions, possibly embracing a fourth-wave feminism perspective: she anti-stereotypically excels at science while still fitting stereotypes of teenage girls, hence her role is somewhat atypical for the genre. Eleven’s androgynous appearance in the episode may reflect the fluidity of gender which may be recognisable by modern audiences. The 1980s setting may also reflect the influence of social anxieties about consequences of scientific experimentation (Reagan’s “Star Wars”) as well as post-Watergate mistrust of government/authority and “conspiracy theory,” elements that are codified through use of shadowy, sinister agents. This genre trope also has global recognition for international audiences.

6. THEORY

7. THEORY BARTHES points out that meaning is created by signs through connotation, which may naturalize dominant values and ideologies, reflecting social conventions. The establishing shot of the Wheeler house in the opening sequence is an example of the way signs work as myths. It suggests ideas of family and home, that construct the myth of the nuclear family as a social norm. TODOROV would argue that this is established as the social norm because it represents equilibrium, and that the disruption to this equilibrium reinforces the social anxiety around the perceived breakdown of the nuclear family represented by Will’s kidnapping. BARTHES can also be applied to the way that myths about gender are constructed. For example, in the sequence that introduces Hopper, the signifiers such as his badge, gun, uniform, and the empty beer cans all suggest values and ideological messages around power and masculinity. BAUDRILLARD theorises that simulations lead to a state of hyperreality. Stranger Things relies on signifiers (mise en scene and music) to construct its hyperreal diegesis, even using Leica Summilux -C lenses to recreate the visual style of Spielberg’s late 20th-century classics (Goonies, E.T. etc). One of the pleasures of watching Stranger Things is nostalgia, but it is nostalgia for the simulacrum of family, adventure, camaraderie, the Spielbergian American Dream. There is no attempt to present realistic representation of 1980s America, so any social commentary can only really be read as symbolic. Applying GERBNER might lead us to conclude that ‘Stranger Things’ reflects a range of social values in relation to areas such as gender roles and the family and that its depiction of social norms can be seen as an example of mainstreaming although the complexity of representations and the different ways in which audiences may engage with these representations would arguably limit their impact upon the audience. Indeed, GAUNTLET would likely point out that the variety of different representations across a range of ages, genders, ethnicities and sexualities means that audiences may use the show to help them construct their own identities. Indeed, this is a significant factor in most LFTVDS; as the long form drama as the genre lends itself to large and varied ensemble casts. He would likely point out that the representation of 1980s society may suggest that identities were more fixed in the past than they are in contemporary society, especially around the depiction of patriarchal power and entrenched gender norms. However, we could argue that the representation of some social groups suggests identities are less fixed and communicates contradictory ideas about identity. Consider the contrasting representations of masculinity and male identity through characters such as Hopper, Mr Wheeler, Mr Clark, Jonathan, Steve, and Will. BUTLER helps us to notice that Eleven does not conform to gender norms and is initially mistaken for a boy; because she has been raised in isolation, she has not learned how to perform a normative gender role, which supports Butler’s idea that there is no essential gender identity. As she becomes more socialised across the narrative of season one her performance of gender norms increasingly conforms to social norms. Will is also represented as not conforming to masculine gender roles as he is described by Joyce as being more sensitive and feminine. Both characters can be seen as examples of what Butler calls ‘gender trouble’ as they do not conform to gender norms. The way other characters react to them shows how gender norms are policed and reinforced in the historical setting (e.g. Will being bullied). This exploration of 1980s attitudes to gender performativity may, by contrast or by recognition, shine a light on contemporary social ideas around gender and sexuality.

8. We can also consider the significance of social and historical contexts when evaluating the relevance of genre. The Duffer brothers were born in 1984, so their ‘historical’ setting in ‘Stranger Things’ is not based on real experience, it is shaped by a nostalgic exploration of a hyperreal 1980s America built on generic tropes and intertextual references. BAUDRILLARD allows us to point to its reliance on signifiers (mise en scene and music) to construct its hyperreal setting, even using Leica Summilux -C lenses to recreate the visual style of Spielberg’s classics. We can’t really call Spielberg a genre, but the reliance on intertextuality to shape the diegesis does point to a shared knowledge of genre between audience and producer. Applying GERBNER might lead us to conclude that the representation of social norms around gender roles and family in ‘Stranger Things’ can be seen as an example of mainstreaming. Again, not exactly a genre effect, but it does point to the way that choices around TV genres can influence social perceptions. Conversely, GAUNTLET might point out that the variety of different representations across a range of social groups allows audiences to use the show to help them construct their own identities. This is a significant factor in most LFTVDS; it is a generic convention to feature large and varied ensemble casts, and this may be precisely what draws some audiences to watch shows of this type. GAUNTLET may indicate that the representation of 1980s society suggests that identities were more fixed in the past than they are in contemporary society, especially around the depiction of patriarchal power and entrenched gender norms, but the Duffer brothers bring in modern representational subversions to counter the patriarchal society and appeal to a modern audience. For example, Joyce is a single working mother struggling to hold her family together, but she is determined and forceful, influencing Hopper to look for Will. That said, this may be a generic convention being repeated by the Duffer brothers, after all the determined mother is a well-known trope of 80s Sci Fi. However, Nancy subverts generic and social codes and conventions, possibly embracing a fourth-wave feminism perspective: she anti-stereotypically excels at science while still fitting stereotypes of teenage girls, hence her role is somewhat atypical for the genre. So, it would be wrong to conclude that audiences and producers find the concept of genre irrelevant, but it is not entirely clear how much influence it has when considering social and historical context. Q. 2021: ‘Audiences and producers no longer find the concept of genre relevant to long form television drama.’ How far do you agree with this statement?

9. SAMPLE 01: Why do long form television dramas from different countries offer different representations? SAMPLE 02: ‘Representations of social, cultural and historical events can vary within long form television dramas from different countries.’ Discuss how and why audiences might respond to and interpret these representations differently. Q. 2019: The differences in the codes and conventions of long form television dramas reflect the different values, attitudes and beliefs of the audiences that consume them.’ How far do you agree with this statement? Q. 2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all use intertextuality in the same way.’ How far do you agree with this statement? Q. 2022: ‘Long form television dramas produced in different countries always incorporate the dominant conventions, viewpoints and ideologies of those countries.’ How far do you agree with this statement? HOW WOULD YOU ANSWER THE OTHER QUESTIONS?

10. SOCIAL AND HISTORICAL Like ‘Stranger Things,’ D83 has an historical setting and makes use of signifiers like music and mise en scene to establish its diegesis. We could argue that this may evoke nostalgia, but unlike ‘Stranger Things’, which relies on intertextuality to develop a hyper real historical diegesis, D83 makes a clear attempt to construct a version of reality that, at least, feels historically accurate. Historically, the series shows events before the collapse of Berlin war and the contrast between life in the East and the West. It represents contrasting German ideologies at the time which are encoded throughout, although unconventionally the audience is positioned with “the other,” a communist protagonist pitted against a NATO antagonist. Historically, it deals with significant Cold War events, particularly Operation Able Archer, but also represents the social anxiety of modern Germany facing up to its past. The episode explores the historical trauma of German division and reunification: the East is poor, controlled and firmly ideological, the West is rich, free but self-doubting, and the complex and ambiguous representations in Deutschland 83 reflect the difficulties faced by Germany in coming to terms with its divided past. Unlike the Duffer brothers, Jorg Winger who co-wrote D83, served in the West German military and was responsible for intercepting and decoding GDR (East German) communication. In an interview with the Goethe Institut , Winger explained that they also undertook extensive research, reading declassified documents and interviewing the ambassador to the GDR who served in 1983. As result, D83 has rightfully garnered praise for its focus on historical accuracy. In the same interview Winger has also pointed out that he thinks that Germany has become a much more modern, open and relaxed country. He explains that the Edel family in the series depicts a veryrealistic commentary on German society of patriarchal family structure that, which is a realistic depiction of how it was in the 1980s: parents were strict, they were the children of Nazis and wanted to be good democrats but they still ruled in an authoritarian way. And then there were their children, who rebelled against them. Winger also explains that Germany is talked about in a different way these days; in the beginning, many conversations ended up being about the Holocaust. Germany would often be discussed with a negative undertone, but Germany’s image has turned into something positive which is probably also down to the changes in the European political landscape, making Germany a much more powerful player in the world.

11. THEORY BARTHES points out that meaning is created by signs through connotation, which may naturalize dominant values and ideologies, reflecting social conventions. In the sequence which introduces Martin to West Germany, signifiers such as the Puma T Shirt, Adidas Trainers and Levi’s 501s all help to connote the historical diegeses, but they also suggest values and ideological messages around identity within a capitalist society. During his ‘escape’ he runs into a supermarket, filled with shelves of brightly coloured products and most importantly an abundance of fruit. Like the wheeler house, these signs work as myths, communicating the ideological message that the West is a place of abundance. However, the soundtrack features the song ‘Sweet Dreams’ which bemoans the consumer capitalist focus on choice, suggesting it is empty and unfulfilling. This may be a comment on the difficulties faced by Germany in coming to terms with its divided past. ​HALL would point out that the social groups represented in D83 construct a representation of a predominantly white, patriarchal, heteronormative society. Numerous social groups are absent from positions of power in West Germany (e.g. gay characters, female characters – thought the American general is black) which may suggest an historically accurate patriarchal ideology at work. However, this is challenged by the representation of Lenora as the ruthless and highly respected leader of the HVA in West Germany. We might assume this is similar to the Duffer brothers bringing in modern representational subversions to counter the patriarchal society and appeal to a modern audience, but D83’s commentary on gender may be intended as a historically accurate socio-political reference to the difference between capitalist patriarchy in the West and the more egalitarian communist system which has clearly promoted a woman to a position of power. On the other hand, Lenora may be a generic trope found in espionage thrillers; her ruthlessness is certainly reminiscent of Judy Dench's M. Applying GERBNER to D83 suggests some interest things about social and historical context. Like Stranger Things, we could argue that  D83 contributes to mean world syndrome through its depiction of violence, especially given that the perpetrators seem to feel almost casual about it. We could even argue that it perpetuates mean world syndrome by constructing a narrative that depicts NATO in the role of villain. Gerbner’s work would likely point out that this type of depiction may reinforce cynical mistrust of Western values. However, D83’s depiction of a communist hero notably defies genre conventions; therefore, it could be argued that it actively works against mainstreaming and offers a vision of the political and historical context that might lead audiences to a nuanced understanding that makes mean world syndrome difficult to apply. , . HALL points out that genre conventions are used by producers to construct preferred meanings. For example, D83 uses genre conventions to encode a sympathetic representation of its protagonist. Tropes like the sick mother and sequences like the training montage encode a preferred reading of Martin as a devoted son on a hero’s journey. This subverts the conventional narrative of a NATO hero, and applying Hall allows us to predict that the audience’s situated logics will impact the reading, accepting, rejecting, or modifying their response, perhaps based on their national identity or lived experience of the historical context period. This foregrounds the significance of genre within Hall’s theoretical framework and of the influence of historical context in shaping audience reading. The German release of the show was unsuccessful, perhaps because the lived experience of audiences may have prompted uncomfortably oppositional socio-political readings. However, it was well received by U.S. and U.K. audiences, whose distance from the nation of origin and the historical context may have allowed more dispassionate negotiated readings of the text.

12. Unlike the Duffer brothers, Jorg Winger who co-wrote D83, served in the West German military during the Cold War period and extensive research has rightfully garnered the programme praise for its focus on historical accuracy. Applying BARTHES allows us to look at the use of signifiers such as the Puma T Shirt, Adidas Trainers and Levi’s 501s to construct the historical diegeses, but also to connote values and ideological messages around the social context in the capitalist West. During his ‘escape,’ Martin runs into a supermarket, filled with brightly coloured products and shelves of fruit. Like the Wheeler house, in ‘Stranger Things’ these signs work as myths, communicating the ideological message that the West is a place of abundance. However, the soundtrack features the song ‘Sweet Dreams’ which bemoans the consumer capitalist focus on choice, suggesting it is empty and unfulfilling, perhaps a comment on Germany’s difficulty in facing up to its divided past. The extended run time of LFTVDs lend themselves to this nuanced exploration of social, political and historical contexts, and this type of nuanced exploration is arguably a generic convention of many such Long Form Spy Thrillers. HALL might point out that D83 constructs a representation of a predominantly white, patriarchal, heteronormative society. Marginalised social groups are absent from positions of power in West Germany which may reflect an historically accurate patriarchal society. However, this is challenged by the representation of Lenora as leader of the HVA. We might assume this is similar to the Duffer brothers bringing in modern representational subversions to appeal to a modern audience, but D83’s commentary on gender may be an historically accurate socio-political reference to the difference between capitalist patriarchy in the West and the egalitarian Communist system which has promoted a woman to a position of power. On the other hand, Lenora may be a generic trope found in espionage thrillers; her ruthlessness is certainly reminiscent of Judy Dench's M. The Wingers may have chosen their socio-historical messaging to appeal to generic conventions understood by both German and international audiences, but it really isn’t clear whether this is their motivation. Q. 2021: ‘Audiences and producers no longer find the concept of genre relevant to long form television drama.’ How far do you agree with this statement?

13. SAMPLE 01: Why do long form television dramas from different countries offer different representations? SAMPLE 02: ‘Representations of social, cultural and historical events can vary within long form television dramas from different countries.’ Discuss how and why audiences might respond to and interpret these representations differently. Q. 2019: The differences in the codes and conventions of long form television dramas reflect the different values, attitudes and beliefs of the audiences that consume them.’ How far do you agree with this statement? Q. 2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all use intertextuality in the same way.’ How far do you agree with this statement? Q. 2022: ‘Long form television dramas produced in different countries always incorporate the dominant conventions, viewpoints and ideologies of those countries.’ How far do you agree with this statement? HOW WOULD YOU ANSWER THE OTHER QUESTIONS?