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Media Comp 2 > Tehran Class Flashcards > Flashcards

Tehran Class Flashcards

1
Q

Tehran Product Context

A
  • Israeli spy drama thriller series created for the Israeli Public Broadcasting Corporation (IPBC)
  • Tehran was released internationally on Apple TV+, becoming the first non-English series on the platform
  • Majority of the dialogue is in Hebrew and Persian, with English subtitles available
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2
Q

Behind the scenes

A
  • Directed by Daniel Syrkin, created and written by Moshe Zander, also know for his work on Fauda
  • Niv Sutlan underwent Persian Language lessons and Krav Maga training for her role
  • Tehran premiered in Israel and gained global attention, similar to Fauda on Netflix
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3
Q

Tehran plot summary

A
  • Tehran follows Tamar Rabinyan, a hacker agent for Mossad, on an undercover mission to disable an Iranian nuclear reactor
  • The series explores the tension between Iran and Israel regarding Iran
  • Season 1 depicts Rabinyan mission in Iran, her birthplace
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4
Q

Recognition and renewal

A
  • Tehran won and Emmy for best drama series, the first Israeli series to achieve this
  • Apple TV+ renewed Tehran for a second series, released in May 2022
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5
Q

Spy thriller genre

A
  • Spy thrillers focus on fictional espionage, often featuring solo undercover agents
  • Popular for providing escapism with exotic locations, fast-paced action, and a clear protagonist
  • Tehran adheres to genre conventions, with a narrative set in the context of the Iran-Israel proxy conflict
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6
Q

Genre evolution

A
  • Spy thriller TV genres have evolved from theatres to TV screens over the past two decades
  • Tehran shares similarities in structure, fast-paced narrative, and real-life context
  • Tehran reflects current tensions between Iran and Israel, making it culturally relevant
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7
Q

Breaking gender norms

A
  • Tehran features a female protagonist, Tamar, breaking the traditional male spy character stereotype
  • Reflects audience demands for more dynamic and original characters
  • Similar to Killing Eve, Tehran places a woman at the centre of the narrative
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8
Q

Media Language - Visual Codes

A
  • Dress codes play a crucial role in establishing character identity and ideological stance in Tehran
  • The use of dress codes helps anchor the cultural context of the show for the audience
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9
Q

Media Language - Technical codes

A
  • Handheld camera use at the beginning of episode 1 creates an immediate sense of action and tension
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10
Q

Media Language - Audio codes

A
  • Tehran uses a mixture of languages, including Persian, Hebrew, and English
  • Mark Eliyahu’s enigmatic score, incorporating Iranian instruments, contributes to the show’s identity
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11
Q

Theoretical approach - Todorov

A
  • Tehran’s first episode throws the audience into the critical stage of the mission without a traditional build-up
  • Immediate immersion in the action chosen over a more traditional narrative structure
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12
Q

Theoretical approach - Neale

A
  • Neale’s theory of repetition and difference applies to Tehran, balancing traditional spy thriller conventions with a unique spin
  • Tehran establishes itself as a contemporary example of a spy thriller drama series
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13
Q

Theoretical approach - Levi Strauss

A
  • Tehran is set within the factual context of a political conflict between Israel and Iran
  • The media language reinforces a binary opposite between Iranians as the enemy and Tamar (Israelis) as the protagonist
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14
Q

Social and cultural context

A
  • Viewer understanding of Iran-Israel is crucial for a comprehensive interpretation of Tehran
  • Independent research is recommended to grasp historical context, influencing the representation of events, individuals, and social groups
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15
Q

Selection and combination in representation

A
  • Tamar’s journey in Tehran showcases diverse aspects of Iranian culture
  • Scenes of contemporary lifestyle and public execution are juxtaposed, prompting reflection on the producer’s political positioning
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16
Q

Versions of reality through Re-presentation

A
  • The show begins with a disclaimer of fictional content, but research reveals parallels with real events, particularly Israel’s opposition to Iran’s nuclear program
  • The blurring of lines between fiction and reality emphasises the importance of understanding the political context
17
Q

Producer’s choices in Representation

A
  • Influences the portrayal of Iranian culture
  • Consideration of the historical and political context of Israeli-Iran tensions is essential to understanding representations in Iran
18
Q

Underrepresentation and Misrepresentation

A
  • Tehran represents a shift in diversity on streaming platforms
  • Variety Magazine notes the show’s reflection of the present-day American stance towards Iran, emphasising the need for thorough research into representations
19
Q

Claims about realism in representation

A
  • The inclusion of the public execution scene in Tehran could be seen as damaging, but reports confirm similar events in Iran
  • The series portrays real-life issues amidst political tensions
20
Q

Historical context in representation

A
  • The history of the hijab in Iran, compulsory since the 1979 Islamic revolution, is significant in contextualising ideologies and beliefs - Different dress codes reflect cultural values, and recent events, such as burning hijabs as a symbol of rebellion, are relevant
21
Q

Feminist theories - bell hooks

A
  • Tamar challenges and conforms to aspects of the theory
  • While empowering as a strong female character, violence towards women in the narrative reflects the cultural context
22
Q

Feminist theories - Van Zoonen

A
  • Reinforcing gender roles
  • Tamar, though portraying alternative representations, sometimes conforms to stereotypical feminine characteristics for disguise
23
Q

UN Commission on the Status of Women

A
  • Removed Iran due to oppressive actions against women, including the death of Mahsa Amini
  • The UK’s statement emphasises the inconsistency of Iran’s actions with the commission’s objective
24
Q

Production teams and organisations

A
  • The production team includes Israeli industry veterans: Maor Kohn, Omri Shenhar, and Daniel Syrkin
  • Donna Shula Productions and Paper Plane Productions co-produced Tehran
  • Paper Entertainment, created by Julien Leroux, and Channel 4’s Indie Growth Fund also involved
25
Q

Distribution and International Collaboration

A
  • Cineflix Rights handled international distribution for Tehran
  • Apple TV+ struck a co-production deal with Cineflix Media to launch the show on their streaming service
  • Tehran in an internationally-produced venture with collaboration from multiple organisations and professionals
26
Q

Production scale and funding

A
  • Tehran demonstrates high production values and an ambitious scale
  • Unconfirmed reports suggest Apple TV+ paid 1 million dollars per episode
  • Casting process contributed to the show’s success
27
Q

Filming location and political constraints

A
  • Tehran’s production took place in Athens, Greece, due to political tensions preventing filming in Tehran
  • Athens was chosen for its architecutral similarities, avoiding the need for studio sets or facades
28
Q

Technological change and streaming networks

A
  • TV streaming networks, especially Apple TV+, played a key role in Tehran’s global success, linked to streaming platforms and a broader audience
29
Q

Multi-territory environment and digital technology

A
  • Advances in digital technology contribute to the fast growth in global drama demand
  • Production companies , like paper plane, collaborate to create content in a multi-territory environment
  • Paper Plane entered a deal with Apple TV+ in 2020 for co-producing international dramas
30
Q

Audience Maintenance and Marketing

A
  • Tehran’s success contributes to launching Israeli productions globally
  • Apple TV+ and Kan’s collaboration aims to establish Israeli content on a global scale
  • Tal Freifield expresses the significance of such productions for the local industry and international recognition of Israeli culture
31
Q

Cultural Industries Theory - Hesmondhalgh

A
  • Major cultural organisations create products for commercial success
  • IT companies like Apple, compete with traditional media conglomerates
  • Apple TV+ responds to the demand for online streaming, becoming a significant player in the cultural sector
32
Q

Impact of Global distribution on success

A
  • Hesmondhalgh’s theory prompts consideration of Tehran’s success with global distribution via Apple TV+
  • Apple TV+ played a crucial role in Tehran’s exposure, success, and funding for a second series
33
Q

Target audience and global appeal

A

-Tehran targets a broad audience by capitalising on the global popularity of the spy thriller genre
- The inclusion of a female protagonist enhances diversity and reflects the evolving nature of the genre
- Apple TV+’s involvement ensures global accessibility, making Tehran a potentially safe investment

34
Q

Themes and global appeal

A
  • Tehran’s contemporary themes, related to Iran’s political unrest and women’s rights, make it appealing to a global audience
  • Despite being created before current events, the show’s relevance to ongoing issues enhances its appeal
35
Q

Technological advances and audience needs

A
  • Technological advances allow audiences to access new and diverse content, meeting the needs of both mass and specialised audiences
  • Tehran’s unique elements, including social and political context, cater to audience preferences and offer niche content
36
Q

Audience interpretations and social factors

A
  • Tehran’s political narrative invites various audience interpretations influenced by ideological beliefs and political stances
  • Factors such as age, gender, and religious beliefs can shape how individuals interpret the show, aligning with Hall’s reception theory
37
Q

Hall’s reception theory - Dominant/intended meaning

A
  • Tehran positions Iran as dangerous and oppressive, creating a clear binary opposition of good and bad
  • Audience demographics and psychographics impact how viewers consume the intended meanings, potentially leading to negotiated or oppositional readings

Media Comp 2 (24 decks)

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