LFTVDs; Stranger Things + Deutschland 83 Flashcards
(78 cards)
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 do 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, Amazon Prime and Disney+ subscription
A
- Netflix: 60%
- Amazon Prime: 46%
- Disney+: 25%
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
- immersive experiences - e.g. ports into the upside down were randomly put up around the world - was a globally coordinated campaign
- released a ST Spotify playlist - Kate Bush reached #1
- product placements + partnerships - e.g. Coca Cola
20
by ____, wired broadband, Wi-Fi and 4G were widely available
- by 2016, wired broadband, Wi-Fi and 4G were widely available
21
Netflix grew its subscriber base by nearly _____ between ___-___
- Netflix grew its subscriber base by nearly 10 million between 2016-17
22
outline the production of D83
- 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
what was D83’s connection with Sundance TV
- Sundance TV is an American streaming platform
- D83 was put onto Sundance TV for American streamers
- Sundance TV is owned by AMC Networks
23
what was a large source of cost for the 2 shows
- 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
outline Channel 4’s relation to D83
- the series was broadcast on Channel 4 - a UK streaming platform
25
outline Walter Luzzolino
- 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
what was a large risk for D83
- it was a foreign language show and many people may not like to read subtitles
27
who were notable cast members in D83
- Maria Schrader (Leonora): director of unorthodox
- Sylvester Groth (Walter): starred in a Tarantino film
- helps attract fans + makes it more marketable
28
name elements of LFTVDs
- '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
- 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
outline expectations for current LFTVDs
- 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
outline the development of quality of LFTVDs
- 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
outline the representation of the boys' in ST
- in the opening scene they are introduced as a gang of individuals with physical dissimilarity, emphasised by their different costumes
31
outline the genre hybridity of ST from EP1
- 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
what are the 4 main ideologies influencing ML in TV dramas
- 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
outline the genre hybridity of D83 from EP1
- 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
what does streaming allow
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
outline intertextuality in LFTVDs
- 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
outline intertextuality in Stranger Things
- 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
outline intertextuality in Deutschland 83
- 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
outline the viewpoints + ideologies presented in ST
- 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
outline the viewpoints + ideologies presented in D83
- 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
name 3 binary oppositions of ST
- monstrous-ordinary
- threat-love/ companionship
- violence-nurturing
36
name 3 binary oppositions of D83
- state-family
- manipulation-love
- danger-safety
36
outline social contexts in LFTVDs
- TV programmes have been impacted by changes in gender roles, in racial + ethnic inequalities, and in social attitudes to sexualities + disabilities
- there is also the influence of social anxieties on TV programmes
37
outline cultural contexts in LFTVDs
- the influence of national cultures on TV programmes, e.g. the cultural importance of TV dramas in reflecting national cultural identities (+ on occasion, challenging these representations to raise debates)
- the influence of cultural globalisation (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
outline historical contexts in LFTVDs
- the influence of key historical events on TV programmes - e.g. the Cold War is the basis of plot for D83 + how events have been reinterpreted
- significant historical changes in other contexts
38
outline political contexts in LFTVDs
- 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
outline economic contexts in LFTVDs
- the influence of budgets + economic competition stresses the need for complex representations + for any localised representations to have universal appeal to attract global AUDs
40
outline the social context in ST
- 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
outline the cutural context in ST
- the representation of the culturally iconic American small town community which has global recognition due to Hollywood blockbusters of the 80s + their embodiment of this symbol for the American good life (/American Dream)
- representation of Eleven as having supernatural powers reflects a cultural tradition of dangerous children in sci-fi literature
- 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
outline the economic context in ST
- the complexity of the characters + representation reflects the economic pressure to create quality flagship programming
42
outline the political context in ST
- 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
outline the historical context in ST
- 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
outline the social context in D83
- 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
outline the cultural context in D83
- the EP reflects German concerns about cultural amnesia + remembering the need to remember
- the spy narrative is of global recognition, explains the international success of the series
- the representational complexity of the programme reflects the high expectations of LFTVDs
45
outline the political context in D83
- D83 is set during a tense phase of the Cold War - highlights the ideological + political divide between E + W
- The series revolves around historical fears of nuclear war, especially during the West's NATO military exercise Able Archer 83, which East German and Soviet officials misinterpreted as an attack
46
outline the historical context in D83
- 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
outline the economic context in D83
- the complexity of the characterisation + representations reflects the economic pressure to create flagship programming
47
outline the social realism in ST
- 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
outline the social realism in D83
- based on real events - e.g. Cold War division of Germany, rule by Communists in the East, Reagan's escalation of the arms race
- within this social context of recognisable events, it creates situations + characters that remain believable 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
outline stereotyping in LFTVDs
- 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
outline the stereotypes in ST
- 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
outline the stereotypes in D83
- Walter: stereotypical ruthless male spymaster
- Martin: stereotypically flawed 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
outline the viewpoints + audience positioning presented in ST
- 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
outline the viewpoints + audience positioning presented in D83
- 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
define free market capitalism
- 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
outline the ownership + control of LFTVDS in America
- 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 capitalist businesses, with Netflix dominating the market
- this differs greatly in European TV
52
who created D83
- 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
53
what is a reason for the lack of domestic success for D83
- it wasnt very historically accurate, so many Germans thought it was comedic
54
did the Duffer Brothers intend to make ST realistic
- no, they intended to make ST a verisimilitude based off of movies of the 80s
55
outline the significance of D83 being a foreign language film
- the success of foreign language TV shows such as The Killing, a Danish series, influenced Channel 4 to buy + stream D83
- Netflix has since released FL language shows - e.g. Elite, Money Heist, Squid Games
56
outline the representations of Martin + his mum and what they reflect
- Martin's mum: is on a waiting list for a procedure, gifted coffee - reflects reality/ culture of East Germany
- Martin: refuses + runs away from opportunity to be a spy for his country - isnt made to be a macho, heroic man - reflects ideologies of LW producers/ writers - however by the end of D83, M becomes more hardened after going through a character arc
57
outline the context of life in East Germany for D83
- harsh control of free speech (censorship) + the population - e.g. not allowed to leave EG
- blackmail was a common method used by govt - e.g. used by Leonora on Martin
- corruption of power is exemplified in D83 - e.g. with Martin as boarder control taking someone's Shakespeare for himself
- there was gender equality; W were needed + expected to be in employment
- to many German people, D83 is seen as a comedy due to its satirical rep of EG
