LFTVDs; Stranger Things + Deutschland 83 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 raise subscription fees; as their previous business model of low fees wasn’t sustainable for the long term
- content on Netflix is reducing
- their global growth isnt as hoped
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
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
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
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
- CGI allows visual effects even in low budget productions
- higher quality + definition digital cameras that can reproduce film-quality visuals, reduces cost of editing
6
Q
define verisimilitude
A
- verisimilitude = the creation of a believable world in a text
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 distributes it on their channels; Fox Broadcasting Channel
7
Q
what percent of all household have a Netflix subscription
A
- 60%
8
Q
list the features of Netflix’s primary audience
A
- m/c parents (buying for family)
- western watchers
- 18-50 years
- ABC1/ Mass Market
- digital natives
9
Q
define polysemic
A
- polysemic = capable of having multiple meanings
10
Q
what are the 6 films that have cultural/ intertextual references in ST
A
- Alien (1979)
- Carrie (1976)
- Firestarter (1984)
- Poltergeist (1982)
- Stand by me (1961)
- E.T. (1982)
10
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
11
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
12
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 rated foreign language drama with over 3M viewers
- was the first series to be brought on by an American broadcaster before being shown in Germany
12
Q
how was Deutschland 83 written with its streaming platform in mind
A
- D83 was written with ad breaks in mind, unlike ST
13
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”
14
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
15
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
16
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
16
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
- Duffer Brothers weren’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 (being a show set in the 80s) 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
17
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
17
Q
who is the target audience of Deutschland 83
A
- from Europe, German speakers, ABC1, fans of EU arthouse cinema + culture, 35-55, more politically + historically educated
18
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)
19
Q
outline Netflix’s marketing of ST
A
- used the fandom/word of mouth 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
20
Q
by ____, wired broadband, Wi-Fi and 4G were widely available
A
- by 2016, wired broadband, Wi-Fi and 4G were widely available
21
Q
Netflix grew its subscriber base by nearly _____ between ___-___
A
- Netflix grew its subscriber base by nearly 10 million between 2016-17
22
Q
outline the production of D83
A
- funded + co-produced by RTL (a German TV channel + owns UFA) and Sundance TV (an American channel owned by AMC)
- RTL is a large, diversified company
- RTL employed UFA Fiction who produced D83
22
Q
what was D83’s connection with Sundance TV
A
- Sundance TV is an American streaming platform
- D83 was put onto Sundance TV for American streamers
- Sundance TV is owned by AMC Networks
23
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)
- both needed to source + create historically accurate sets, costumes and props
24
Q
outline Channel 4’s relation to D83
A
- the series was broadcast on Channel 4 - a UK streaming platform
25
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
26
Q
what was a large risk for D83
A
- it was a foreign language show and many people may not like to read subtitles
27
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
28
Q
name elements of LFTVDs
A
- ‘serial narrative’ form (story develops through episodes)
- runs for many episodes + for multiple series’; so, unlike filmic narratives, tends not to have a final narrative resolution, but has a narrative drive towards some form of resolution
- strong sense of authorship
- a quality product with high production values, requiring large budgets
- often used as a prestige product to sell broadcasting, cable or streaming platforms as brands
29
Q
outline expectations for current LFTVDs
A
- includes stars/ highly skilled actors
- sophisticated production design
- cinematic styled camerawork, lighting + editing
- ‘through-composed’ music (music composed specifically for a drama) + sophisticated sound effects
- offers complex serial narratives with multiple narrative strands
30
Q
outline the development of quality of LFTVDs
A
- LFTVDs now offer media language characterised by high production values that in the 70s would have been considered a feature of cinema
- recent LFTVDs has developed as a quality product due to the economic context of increasing competition in the TV market with the development of more channels + streaming platforms
- this has raised AUD expectations of TV dramas which has increased the pressure to provide high production values
31
Q
outline the representation of the boys’ in ST
A
- in the opening scene they are introduced as a gang of individuals with physical dissimilarity, emphasised by their different costumes
31
Q
outline the genre hybridity of ST from EP1
A
- science-fiction elements: disruption emanating (sourced) from a science laboratory
- horror: monster (horror is often hybridised with sci-fi)
- conspiracy elements: the sinister agents
- family drama: the relationship between Joyce, Will and Jonathon
- romance: with Nancy + Steve
- coming-of-age: the young gang (joined later by Eleven)
- police: Hopper’s investigations + troubled past
- is also cinematic homage underlying the narrative
32
Q
what are the 4 main ideologies influencing ML in TV dramas
A
- individualism: e.g. focusing a drama on an individual protagonist
- consumerism: e.g. judging characters on their possessions/ desirability of their lifestyle
- patriarchal power + Feminism: e.g. using/ refusing to use W’s bodies as objects, or narratives that present a male, female or gender neutral perspective
- racism + ethnocentrism: + the challenges from multiculturalism + internationalism
32
Q
outline the genre hybridity of D83 from EP1
A
- D83 is primarily a spy thriller, but also includes;
- romance: between Annett + Martin
- political satire: aimed at both East + West Germans + esp the Americans
- family drama: Martin’s family - Leonora, mother, etc
32
Q
what does streaming allow
A
streaming allows;
- programmes can be made without obvious segmentation in order to fit advertising breaks
- less adherence to rigid programme lengths
- less need for traditional narrative elements of weekly dramas, e.g. ‘previously on’ sections + cliff hanger endings, as programmes can be watched as a complete series
- increasing home expenditure + reduction in cost of TVs enables AUDs to watch TV on much larger + higher-definition screens than previously, allowing producers to use fine detail in their ML
32
Q
outline intertextuality in LFTVDs
A
- intertextuality in film, advertising + TV brings extra complexity to help meet the cultural expectation of quality in LFTVDs
- but, the need to both reflect the national context + appeal to international audiences limits opportunities for intertextuality in foreign language programmes
- ST references Hollywood films, and D83 references television news about the Cold War + internationally successful pop music
33
Q
outline intertextuality in Stranger Things
A
- an explicit recreation of 1970s-80s cinema;
- like with E.T.: EP1 features a suburban location next to a wood, boys on bikes, missing father + ambiguous government agents in hazmat suits
- Reiner’s Stand by Me: there is an iconic boy gang
- sound effects resemble those in horror films such as The Thing, whose poster is on the wall in the basement of Mike’s house
- Poltergeist: the plot suggests the theme of being sucked into another world
33
Q
outline intertextuality in Deutschland 83
A
- D83 relies on the intertextuality of its scene-setting, e.g. the opening shot of Ronald Reagan’s Cold War speech on TV
- shots from East + West German TV is used, e.g. in the titles which establish Cold War tensions which form historical context for the plot
- there are references to East + West German brands, internationally successful pop music - e.g. in the party scene
34
Q
outline the viewpoints + ideologies presented in ST
A
- less individualistic, as there is a multi-perspective narrative through Joyce + Hopper, and groups, e.g. the boy gang which drives the narrative
- consumerism is incorporated in the references to popular culture + consumer goods
- the casting of a black main character could suggest tokenism or multiculturalism
34
Q
outline the viewpoints + ideologies presented in D83
A
- ML incorporates individualism through an individual protagonist, but who is trapped by social forces beyond his control
- consumerism is prevalent in this narrative; e.g. the explicit stories about lack of consumer goods in EG are contrasted with materialism in WG
- narrative constructs a primarily male perspective (of Martin), but the narrative is driven by a female power representative, Leonora
- has a primarily White perspective
35
Q
name 3 binary oppositions of ST
A
- monstrous-ordinary
- threat-love/ companionship
- violence-nurturing
36
Q
name 3 binary oppositions of D83
A
- state-family
- manipulation-love
- danger-safety
36
Q
outline social contexts in LFTVDs
A
- the impact on TV programmes of changes in gender roles, in racial + ethnic inequalities, and in social attitudes to sexualities + disabilities
- the influence of social anxieties on TV programmes
37
Q
outline cultural contexts in LFTVDs
A
- the influence of national cultures on TV programmes, e.g. the cultural importance of TV dramas in reflecting, reinterpreting + re-enforcing national cultural identities (+ on occasion, challenging + subverting these representations to raise debates on representations)
- the influence of cultural globalisation (creation of global culture) + cultural hybridisation (mixing diff national elements in global cultural products), e.g. role of globalised genre conventions in the representations of events, issues and characters + the cultural expectations of globalised AUDs for representations
38
Q
outline historical contexts in LFTVDs
A
- the influence of key historical events on TV programmes - e.g. how the reunification of Germany influenced the region - how events have been reinterpreted
- significant historical changes in other contexts
38
Q
outline political contexts in LFTVDs
A
- influence of politics on expectations of TV drama
- the influence of attitudes to politics, including how TV programmes can + are expected to, reflect, reinterpret, amplify + satirise institutions
39
Q
outline economic contexts in LFTVDs
A
- the influence of budgets + economic competition on the need for authorised products requiring complex representations + for any localised representations to have universal appeal to attract global AUDs
40
Q
outline the social context in ST
A
- EP1 intertextually reflects 80s family + gender relations, is set within a Spielbergian, mostly White, world of suburban family life
- it represents mothers as figures struggling to hold the fam together, fathers as absent or insensitive, and young boys as establishing a fierce loyalty + masculine camaraderie
- EP shows the influence of social anxieties about the consequences of scientific experimentation
41
Q
outline the cutural context in ST
A
- the representation of the culturally iconic American small town community which has global recognition given the global success of Hollywood blockbusters of the 80s + their embodiment of this symbol for the American good life
- representation of Eleven as having supernatural powers reflects a cultural tradition of dangerous children in sci-fi literature, e.g. The Midwich Cuckoos
- the theme of science going wrong + producing monsters reflects a cultural tradition in literature, e.g. Frankenstein
- the representational complexity of the programme reflects the context of the high expectations of LFTVDs
42
Q
outline the economic context in ST
A
- the complexity of the characters + representation reflects the economic pressure to create quality flagship programming
42
Q
outline the political context in ST
A
- the EP reflects anxiety about the power of the state in relation to the local community - the EP represents a shadowy world of sinister state agents, suggesting an all-powerful secret state
- whereas, the local police are represented in a humanised way - as good-natured but complacent until forced into action
- the representations are perhaps deliberately stereotyped for intertextual effect - to recreate the world of the 80s - suggests a polysemic reading
43
Q
outline the historical context in ST
A
- historic 1980s technology is represented in this EP, e.g. walkie-talkies, high performance radio, BMX bikes
- this suggests a more adventurous pre-internet age
43
Q
outline the social context in D83
A
- EP1 reflects the social contradictions in divided 80s Germany - East G is represented as a rigidly controlled state that promotes women’s equality, e.g. Leonora as a powerful W who leads the spy operation, but in West G, which is less controlled, the military is represented as rigidly patriarchal
- both Gs are represented as White + the representation of racial integration of the American military adds to their ‘otherness’
- shows the influence of social anxieties about facing up to Germanys divided past
44
Q
outline the cultural context in D83
A
- the EP reflects German concerns about cultural amnesia + remembering the need to remember
- recent media has explored the EG experience that represents how the ambiguities of that experience were buried in the triumph of WG at reunification
- the spy narrative is of global recognition, despite its local origin + explains the international success of the series
- the representational complexity of the programme reflects the high expectations of LFTVDs
45
Q
outline the political context in D83
A
- the representations of concern in both Germany’s about American sabre-rattling (threat) reflects either contemporary German political confidence - as the lead in European politics, or a liberal critique of American Republican politics by writers
46
Q
outline the historical context in D83
A
- EP1 explores the G division as in 1983 - the East poor, controlled + firmly ideological - the West rich, free but self-doubting
- the complex + ambiguous representations reflects difficulties faced by G in accepting its past + the political and military tensions of the early 80s in G
- the collapse of Communism in 1989 meant much of the EG experience was swept under the carpet
47
Q
outline the economic context in D83
A
- the complexity of the characterisation + representations reflects the economic pressure to create flagship programming
47
Q
outline the social realism in ST
A
- ST acknowledges + celebrates its intertextual references, which in doing so, lacks realism
- however, it relies on a strong sense of time + place, so the mise-en-scene works hard to maintain the realism of this period + the script maintains consistent characters
48
Q
outline the social realism in D83
A
- grounds itself in real events - Cold War division of Germany, rule by Communists in the East + Reagans escalation of the arms race
- within this social context of recognisable events, it creates situations + characters that remain plausible within the conventions of spy drama
- the programme delivers a consistent sense of time + place via its highly controlled mise-en-scene, plausible characters + a narrative that, though melodramatic, is driven by the characters’ diff reactions to unfolding events
48
Q
outline stereotyping in LFTVDs
A
- stereotyping is commonly used in TV narratives to enable easy audience comprehension
- LFTVDs allow for considerable character development over a season as characters experience + react to events
- also, multi-perspective narratives shows characters in different lights
- this means characters are likely to be rounded individuals with a number of contradictory character traits, rather than simple stereotypes
48
Q
outline the stereotypes in ST
A
- scientist: stereotypically studious looking, dressed in white lab coat
- Mike’s family: stereotypical affluent, white, suburban, nuclear family
- Nancy: stereotypical teen girl gossiping + concerned with boys
- agents: stereotypically faceless, powerful + ruthless
- Hopper: stereotypical police officer haunted by his past
48
Q
outline the stereotypes in D83
A
- Walter: stereotypical ruthless male spymaster
- Martin: stereotypically flaws as a young man as he lacks self-control or commitment to the mission, esp when it prevents him seeing his gf
- General Jackson: a stereotypical gung-ho American military man, unconcerned about local sensitivities
- Yvonne: stereotypical troubled + rebellious teenager
49
Q
outline the viewpoints + audience positioning presented in ST
A
- the patriarchal order is represented as deeply flawed, AUD is positioned to root for underdogs (single mother + gang of kids) - e.g. through science, the family, the state + the local police - suggests both a pro-family + liberal feminist viewpoint
- though the inclusion of 1 black child in the gang appears tokenistic, it may be deliberate as a period reference - AUD is positioned as non-racist
- there is no evidence of anything except heterosexuality in EP1, which may be a deliberate period reference
50
Q
outline the viewpoints + audience positioning presented in D83
A
- are contradictory representations of patriarchy in the WG military + gender equality in EG; AUD is positioned to identify with male protagonist Martin due to his flawed character, but also sympathise with Leonora in her pursuit of patriotic duty at any cost
- contradictory representations of race; shows WG + US military as ethnically mixed + EG as monocultural - references historical experience, AUD positioned as non-racist
- presents the viewpoint that unification + ending the Cold War were historical blessings
51
Q
define free market capitalism
A
- free market capitalism = an economic system where the free market delivers most goods + services as commodities
- the opposite is socialism, where the state runs the economy
51
Q
outline the ownership + control of LFTVDS in America
A
- American media companies reflect the economic context of free market capitalism + the US political context of hostility to state interference in the free market that might be seen as socialism
- US TV companies are mostly publicly traded capitalist businesses, with Netflix dominating the market
- this differs greatly in European TV
52
Q
who created D83
A
- D83 was created by wife + husband Anna + Joerg Winger
- Anna scripted the programme + is an American novelist
- Joerg is a German producer + D83 was apparently inspired by Joerg’s military service experience
