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MEDIAaa > LFTVD - Stranger Things Audiences > Flashcards

LFTVD - Stranger Things Audiences Flashcards

1
Q

Why do we not know much about ST’s audience?

A

Netflix does not release audience figures

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2
Q

Why does it not release figures?

A

Because it does not need to sell its audiences to advertisers

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3
Q

How is globalisation relevant to audience categorisation?

A

Social class differs from country to country so globalisation makes it impossible to categorise by social class

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4
Q

Instead of using demographics, what does Netflix use to categorise audiences?

A

Pyschographics - subscribers select their favourite programes and algorithms promote services to their profiles

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5
Q

What audiences must Netflix attract?

A

National and International

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6
Q

How do LFTVD try to attract global audiences? (similar to films!) 5 things

A
  1. Use of Hollywood stars (Winona Ryder)
  2. High budgets and production values
  3. Use of mainstream genres
  4. Use of generic hybridity to maximise audience attraction
  5. Development of franchises
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7
Q

What is the main aim of marketing of LFTVD?

A

To create a buzz around the programme in the lead up to the opening/availability

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8
Q

What did the main trailer for ST reflect?

A

The authored elements: social realism of small-town setting, contrasts Hopper’s comic lines to Joyce with the horror of Will’s disappearance suggesting the range of generic pleasures on offer

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9
Q

Which theorists suggest an optimistic view of the relationship between audiences and media products?

A

Shirky and Jenkins

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10
Q

Which theorists suggest a pessimistic view of the relationship between audiences and media products?

A

Gerbner and Bandura

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11
Q

What is Bandura’s main argument?

A

That media can directly influence people’s values, judgement and conduct through media modelling

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12
Q

Why is Bandura’s argument so relevant to LFTVD?

A

Because communication flow is one-way

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13
Q

What is Gerbner’s main argument?

A

That exposure to TV over long periods of time cultivates standardised roles and behaviours in the audience

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14
Q

What two key terms are central to Gerbner’s theory?

A

Mean world syndrome and mainstreaming

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15
Q

Why is Gerbner’s theory called “cultivation theory”?

A

Because it implies a long, slow process rather than a sudden influence

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16
Q

Why might the pessimistic theories be less relevant now?

A

they were more relevant in the context of fewer TV channels and larger audiences; now there is audience fragmentation characteristic of current multichannel and digital services.

17
Q

What does Jenkins argue that fans are?

A

Textual poachers

18
Q

Why does Shirky argue it is the “end of the audience”?

A

Because audiences are able to make their own media as amateur producers

19
Q

Why does this optimistic view of audiences not fit with LFTVD?

A

Because it does not fit the top-down, centralised nature of tv production, especially high-budget, “authored” forms of LFTVD

20
Q

Why is “binge watching” relevant to LFTVD?

A

watching” relevant to LFTVD?
Lack of adverts allows for greater narrative complexity

21
Q

How does streaming allow for more power for the audience?

A

There is so much choice that audiences have more power through this choice then in normal TV

22
Q

What is Hall’s model?

A

“Encoding-decoding” creating “preferred meanings”. These meanings will fit the dominant ideologies

23
Q

What are the three types of readings according to Hall?

A

Dominant hegemonic, negotiated and oppositional

24
Q

How do family values fit into Hall?

A

Dominant hegemonic - Joyce as a mother trying to hold her family together and a criticism of under-committed fathers
Negotiated - may not find the families very convincing or would prefer a more positive view of family life
Oppositional - reject the programme as relegating women to the family/domestic sphere and perpetuating patriarchy

25
Q

Are Jenkins and Shirky relevant at all?

A

Yes for ST as there is a huge fan base and a lot of fan activity online e.g. fan wikis

26
Q

What motivations do amateur producers have?

A

According to Shirky, they value autonomy, competence, membership and generosity

27
Q

Why is UGC relevant to audiences?

A

It creates emotional connection between people who care about something. Audiences are demanding interaction and providing it themselves online.

28
Q

How does ST position audiences?

A

As American with a positive view of America. It assumes a lot of knowledge of 1980s Spielbergain films and other American cultural aspects

29
Q

What type of viewing does LFTVD aspire to?

A

“must see”/ appointment viewing across an international market

30
Q

How is cultural globalisation and hybridisation relevant?

A

Global audiences are attuned to local narratives told within globally intelligible generic conventions (think of Hollywood global appropriation such as Mulan, Lion King, Jungle Book etc)

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