Life On Mars

Question 1

Narrative

Answer 1

Elements of a flexi-narrative
Certain information is restricted fro m the audience to create suspense and enigma codes
Audience follows Sam Tyler’s perspective and learns things as he does (200’s perspective)
Plot situation typical of crime drama such as car chases
Binary opposites of good and evil etc

Question 2

Stock characters

Answer 2

Hierarchy with boss, detective and sidekick
Characters form binary opposites such as Gene Hunt and Sam Tyler and this contributes to tensions in narrative

Question 3

Settings and locations

Answer 3

Typical of genre such as police station and urban crime settings
Setting clearly establishes time frame that the action is taking place in

Question 4

Todorov- Narratology

Answer 4

Equilibrium: Typical crime scene narrative involving car chase
Disrupted when Sam has an accident and is transported to 1973
Enigma code then established as Sam tries to repair the narrative by working out how to return to the present
No resolution in first episode so ends on a cliffhanger

Question 5

Steve Neale- Genre theory

Answer 5

Marked by various familiar crime drama conventions
Uses intertextual references and sci-fi hybrid genre to create change, demonstrating overlap and borrowing
The time travel element of the show represents how society has changed because Sam is critical of attitudes in 1970’s society

Question 6

Visual codes: Clothing

Answer 6

Start of episode: Typical of crime drama eg suits, establishing hierarchy in police force
Sam’s clothing shows disruption in narrative with his typical 1970’s attire of wide collar shirt and flares
Adds to the enigma surrounding Sam’s narrative

Question 7

Visual codes: Gesture and expression

Answer 7

Sam cries and hits steering wheel before he is hit by car emphasising frustration and suppressed emotion over Maya’s abduction
Sam frequently looks confused in his expressions to emphasise the mystery of the 1973 setting

Question 8

Visual codes: Iconography and setting

Answer 8

Settings work in binary oppositions, such as the police offices in 1973 and 2006 which emphasises the lack of technology in 1973
Binary oppositions of different road systems
Iconography of 1973 such as cars and walkie talkies further reinforce Sam’s confusion

Question 9

Technical codes

Answer 9

Close ups on Sam reinforce confusion and disorientation and heighten tension
Framing of Sam and Gene’s first encounter foreshadows clash between the two
Dutch angle when Sam is hit by car establishes confusion
360 degree tracking shot when he arrives in 1973 establishes new seeting and disorientation
Editing: Low angle of Sam viewing Maya’s blood-stained shirt followed by bird’s eye view of urban setting constructing sense of foreboding

Question 10

Audio codes: Music

Answer 10

David Bowie’s Life On Mars is played at several points, specific lyrics relate to narrative such as just before Sam gets hit by car, creates nostalgia for audience
Diegetic sound of music disappears as Sam is crying, as if he is already in a dream and cannot be heard
Silence when Sam is hit by car reinforces shock, followed by non diegetic sounds such as sirens to reinforce disorientation

Question 11

Audio codes: Dialogue

Answer 11

Initially is conventional of crime drama eg ‘we have a warrant’
Gene Hunt’s sociolect highlights what was acceptable in the 1970’s
Sam’s dialogue in the 1970’s highlights contrast in settings such as when they think a Jeep is a ‘military vehicle’

Question 12

Baudrillard- Postmodernism

Answer 12

Narrative is fragmented and manipulates time and space
Elements of bricolage and intertextuality via cultural codes creating audience appeal through nostalgia
The 1970’s world of Gene Hunt is a hyperrality created from recognisable signs; re-presented from a mediated perspective
Sam’s 21st century world is also hyper-real because it is based on audience’s perception on the police force

Question 13

How representation is constructed via technical codes

Answer 13

Opening scenes establish Sam Tyler as in control
In the 1970’s close ups and 360 degree shots are used creates representation of his confusion

Question 14

How representation is constructed via audio codes

Answer 14

1970’s dialogue and vocabulary establish cultural differences between past and present, negative representations of the police
Music soundtrack represents the 1970’s

Question 15

How representation is constructed via iconography

Answer 15

Clothing contributes to construction of representation

Question 16

Representation of men/ masculinity

Answer 16

Dual time frame makes representation vary via binary opposites
Representation in 1973 is one of hypermasculinity and dominance/power, mainly shwon through Gene Hunt
Gene Hunt’s masculinity constructed through iconography eg a dartboard in his office connoting aggression
Sam Tyler both subverts and conforms to masculine expectations; he treats female characters nicer and challenges Gene Hunt
In 2006 however he displays masculine dominance in the police force
Sam is also constructed as vulnerable with closed body language

Question 17

Representation of women/ femininity

Answer 17

Annie and Maya are in binary opposition
Women are underrepresented in the 1970’s, Annie has less of a role in the police force despite having a degree
Dora serves to highlight tension between Sam and Gene by reflecting the cultural differences in attitudes to women
Maya has a more active role in the police force and challenges Sam, however she is also portrayed as a victim through her abduction

Question 18

Representation of ethnicity

Answer 18

Compares historical and contemporary cultures
1970’s: Underrpresentation of minorities in police force
Nelson is constructed as a stereotypical Jamaican and as ‘other’. Role as a bartender reinforces cultural inferiority
Maya’s representation as an Asian woman with power in the police force, reflecting equality in contemporary society

Question 19

bell hooks- Intersectionality

Answer 19

Dual time frame raises awareness on how oppression has changed
1970’s time fram forces audience to consider the oppression of women, particularly Annie

Question 20

Van Zoonen- Feminist theory

Answer 20

Contrasting worlds of 1973 and 2006 illustrates how dominant understandings of gender have changed over time
Gene Hunt’s world is hypermasculine and Annie is somestic and nurturing within it
Maya’s opportunties in society are very different due to changes in gender equality

Question 21

The BBC

Answer 21

Public service broadcaster
Remit to educate, inform and entertain
Impartial and independent
Produce high quality entertainment

Question 22

Royal Charter (5 aims)

Answer 22

Provide impartial news to help audience engage with world around them
Support learning for people of all ages
Creative, high quality and distinctive output
To reflect, represent and serve the diverse communities in all of the United Kingdom
To reflect the UK, its cultures and values to the world

Question 23

Who produced, broadcasted and distributed the show

Answer 23

Produced by Kudos Film and Television, an independent company
Broadcast by the BBC
Distributed by BBC Worldwide

Question 24

Use of formatting

Answer 24

Repeats successful crime drama genre
Series continued by spin off Ashes to Ashes and international remakes
Star power of John Simm, Philip Glenister and Liz White

Question 25

High production values

Answer 25

Locations, cinematography, actors

Question 26

Economic factors

Answer 26

BBC is funded by the TV license as a public service broadcaster, so influenced by remit
Funding gives BBC more freedom because they don’t rely on money from commercial advertising
Some commercial element on top of license fee such as BBC Studios

Question 27

Ownership

Answer 27

BBC is vertically integrated, involved in production, sales and distribution

Question 28

Marketing

Answer 28

Intertextual references to 1970’s crime dramas eg The Sweeney used throughout to establish enigma of dual time frame

Question 29

Regulation

Answer 29

Scheduled post-watershed at 9pm on BBC One
BBC is regulated by Ofcom which examines complaints from viewers

Question 30

Livingstone and Lunt- Regulation theory

Answer 30

The decision to broadcast Life On Mars at 9pm protects citizens from harmful content
Challenged due to changes in technology, available on Britbox with no watershed or age regulation

Question 31

Hesmondhalgh- Cultural Industries

Answer 31

Attempts to minimise risk include vertical integration with Kudos and the BBC
Typical conventions of a crime drama are used to minimise risk by creating familiarity
Recognisable stars is example of formatting

Question 32

Target audience

Answer 32

Primary audience = Mainstream audience who are fans of crime drama, cross-gender appeal with narrative and characters
Secondary audience = Fans of fantasy/ sci-fi attracted by the hybrid genre
Tertiary audience = Those interested in the 1970’s who enjoy nostalgia and intertextual elements

Question 33

Appeal of genre

Answer 33

Crime drama is successful genre, offers audience pleasures, audience have expectations and enjoy seeing them fulfilled
Offers escapism where audience can try and solve the crime
Personal identification with themes of characters
Positioned to sympathise with Sam Tyler
Gain information on police force and 1970’s
Encourages social interaction

Question 34

Narrative appeal

Answer 34

Offers typical codes and conventions of crime drama whilst also offering something different in terms of enigma and dual time frame, appealing to both a mainstream and niche audience

Question 35

Appeal of characters

Answer 35

Gene Hunt has become an iconic character
Sam Tyler’s restricted narrative perspective means that audience follow him

Question 36

Appeal of intertextual references

Answer 36

Gives audiences pleasure through recognition
Nostalgia through visual codes and iconography

Question 37

Inherited fan base

Answer 37

Audiences like crime drama, there is an expectation that the BBC will produce high quality drama
Appeals to fans of John Simm from Doctor Who, attracting a younger audience

Question 38

Appeal of marketing

Answer 38

1970’s soundtrack released to attract older audience and music fans
Nostalgic references create appeal
Trailers position audience to sympathise with Sam Tyler from the start

Question 39

Stuart Hall- Reception theory

Answer 39

Preferred reading: Audience are entertained and enjoy intertextual references to 1970’s society
Negotiated reading: Judges 1970’s froma 21st century perspective
Oppositional reading: Feel that representations facilitate racism and sexism

Question 40

Social and cultural context

Answer 40

Dual time frame encourages audience to consider respective contexts and hence representations of gender and ethnicity
Reflects inequality in 1970’s society
Creates discourse around policing in the past and present
Reflects audience responses

Question 41

Historical context

Answer 41

Representations reflect context of 1970’s society
Genre conventions are historically relevant and dynamic
Younger audience may respond differently because they are not aware of other products from the 1970’s such as The Sweeney