Long form television dramas (LFTVDs) are influenced by social, cultural, economic, political and historical contexts. Social contexts include such factors as changes in gender roles, inequalities based on gender, race and ethnicity, and social attitudes to sexualities. They include the social anxieties and/or contested social values of the time and place that television programmes are made. These will influence representations. Cultural contexts include the influence of national cultures on television programmes, for example the cultural importance of television dramas in reflecting, re-interpreting and re-enforcing national cultural identities and representations of social groups, events and the individuals within those (and on occasion, challenging and subverting those representations to try and instigate cultural change and domestic conversations on representations and identity).

Political contexts include the influence of political debate on regulation of television; how television programmes can reflect and comment upon national political institutions given the freedom of Western programme makers to criticise and satirise their own political systems; and how in political dramas such as Deutschland 83 or Stranger things the audience may need to have political knowledge to understand some representations.

 Economic contexts include the competitive nature of the television industries and influence of high budgets on flagship television programmes, e.g. the opportunities for character development in ‘authored’ high-budget programmes allow for more complex, individualised three-dimensional characterisation rather than stereotyping. They may also include the disparity between production budgets for US television dramas and European television dramas and their sources of funding and how budget can influence representations through allowing more or less choice to programme makers when constructing representations, for example, with regard to locations, settings, costumes, filming, lighting, sound and editing technology.

I am going to consider the effects of contexts on the American LFTVD Stranger things and the European LFTVD Deutschland 83.

In stranger things, we see the influence of social contexts. The episode reflects socially contested gender and racial/ethnic relations in that it represents a world in which apparent conformity to social norms masks underlying tensions and conflicts; in particular, we see Karen - mikes mum acting as the 'perfect house wife' and Benny acting as a strong and powerful man when eleven enters his diner, both illustrating Butler’s idea of the performative of gender. some dominant characters such as Hopper and Benny help, reinforce the patriarchal power, but one of the main representations in Stranger things is of 'absent fathers' we see female mothers such as Joyce and Karen going against this theory. Racial and ethnic representations are ambiguous: a Black boy called Lucas is one of the main characters of the narrative however it wouldn't of been typical for a black family to be living in a middle class suburban town in that time period.

In stranger things, we see the influence of cultural contexts: the episode shows the influence of the American culture of living in a typical small town in the 80's. This reflects the development of Hollywood cinema in the 80's. In addition to this it became instantly reconigsable due to the speilbergian white middle class town from these 80's blockbuster hits which show how global audiences could identify and relate to the town when it was used in Stranger things otherwise known as Hawkins. In stranger things, we see the influence of political contexts: the programme reflects how society is constantly aware and in fear of the government as we see in the hawkins lab how they are 'the other' and how the public never knows what they are up to. this is typical in certain series so it can be understood by a wider audience.

In stranger things, we see the influence of historical contexts: the episode explores this by the iconic signs i.e. chopper, av system, walkie talkies, wall phone etc. all of these shows reference to the 80's which will help target the audience of people who grew up during that time as they can relate with them making them want to watch it even more. 

In stranger things, we see the influence of economic contexts: Netflix is a streaming service which also means it cannot be watched on any other platform apart from Netflix service. in addition to this it was $6 million per episode which shows it was of high production value due to the effects used, actors, set, design, costume etc.  

In Deutschland 83, the representations reflect social contexts: the episode reflects how the east side values women in their society and equality compared to the west. An example of this if from Lenora, Martins auntie. she has high dominance and power in the government as she sets up the spy operation by offering martin to go undercover. This is also questions the normal stereotype of family being to look out for one another whereas Lenora puts her nephew in danger i.e. his hand being broken.  in addition to this, the episode also reflects the social contradictions in divided 1980's Germany. We see the east side as a rigidly controlled state whereas the West is less controlled and the military is represented as rigidly patriarchal. However both sides are represented as white along with racial integration of the american military. This helps add to the 'otherness' of both German and american governments and military forces and the influence of social anxieties about the German past. overall emphasizes the verisimilitude experienced throughout the episode, creating a stronger bond between audience and characters as they can relate and it feels real.

In D83, the representations reflect cultural contexts: the episode reflects German concerns about cultural amnesia/ remembering that may date back to their mid-20th century history but this also apply to the reunification and division of Germany as a whole. These concerns that have been released in other media products apart from D83 represent the ambiguities of the east German experience which were then buried and lost in the triumph of the west at reunification. The representational complexity and sophistication of the programme reflects the context of the high expectations of LFTVD. Despite this. the spy narrative however is of a global resonance and helps explain the international success of the series despite the poor audience figures in Germany itself. 

In D83, the representations reflect political contexts: the episode reflects the division of the politcal german world in the 80s. In this case, east Vs west, communist VS capitalist. The east was run the by the soviet union and east germany whereas the west was run by France, US and England. This is reflected in the episode as we see how the west is allowed a lot more freedom than the west. i.e. with music, clothing choices as we see from the brands such as Puma, live in a lot less fear of the governemnt etc. Compared to the east who had limited products available to buy, only certain films and shows were allowed to watch, one type of car was allowed to be driven etc. We are shown this political shock from the reaction of Martin when he moves over to the West side.The series requires some understanding of German national politics but does not assume this knowledge on the part of audiences, providing enough exposition to enable politically literate audiences to understand the narrative.

In Borgen, the representations reflect economic contexts of the high competitive nature of US cable and satellite television in which channels such as Sundance channel seek quality programming to maintain the brand (e.g. by moving into international cooperation to produce and premiere foreign-language programming) and the reliance of German commercial broadcasters. In addition to this D83 is a high-budgeted programme which allows for more complex, individualised three-dimentional characterisation rather than stereotyping e.g. racial integration of black american general wouldnt of been typical in that time. The benefit of this is that it encourages cooperation with other European television producers, creating a very national product yet with international appeal. (e.g. D83 was the first foreign language programme to air on a US network)

In conclusion, the representations in these two LFTVDs do reflect their national social, cultural and political contexts, with Stranger things explicitly interrogating what it means to be American through the speilbergian white middle class coiety which was represented in hollywood films. Audience may also be a factor here. The sophisticated international audiences for LFTVDs may demand both local colour, so specifically national or even local representations, but also archetypal themes that can be enjoyed globally, such as protecting the homeland or creating a new politics. The free-market American television market as compared to the highly regulated and small german television market may also account for some of the representational differences. The german programme has to have cultural significance as D83 one big drama for the season, whereas stranger things was released already onto the popular streaming service netflix which alreadye nsured it a small amount of success, the storyline and genre was what made it international . And was released as VOD. It is likely that genre, audience, industries and contexts all intertwine in their influence on representations in LFTVDs.

Deutschland 83 representation

Assessment New Q1

Deutschland 83 characters

Deutschland 83 Episode walk through

Deutschland 83 poster and trailer analysis

What was it like to live in East Germany in the early 80's?

In conclusion of the end of World War II, Germany decided to split their country into four zones. With a major physical representation of this split being the berlin wall that divided the western and eastern worlds. East Germany otherwise know as the German democratic republic (GDR) developed a distinct culture and had many developments over the years due to their separation from the West.

The West was very capitalist, modern, free owned by the UK and US whereas the East was communist under the ruling of the Soviet Union. The East was government controlled using the secret police, The Stasi.

Some people may agree to the fact that East Germany was hidden away from reality in their ‘own bubble’ and never actually experienced the ‘real world’ until the Wall fell down 44 years after it was built. Others may argue this and state that even though the GDR restricted and controlled many of the outputs of its citizens in many ways, the government provided multiple benefits for them. The GDR offered work, support, free health care, free places in nurseys and schools, affordable houses etc. which are not common in todays society.  There was a sense of valued community in east Germany, the type of place where you could let your child walk to school by themselves and not have to worry about them getting there alone. Everyone watched out for one another regardless of status and financial standing.

What was banned in east Germany?

•        Movies that promoted capitalist ideologies such as Grease.
•        Music heavily censored. The lyrics were carefully reviewed for any hints of dissent and bands were only allowed to sing in German.
•         Fashion views were different, female models were everyday women who promoted a healthy body and healthy living.
•        East Germany created Vita-cola as alternative to Coca-Cola due to the difficulty of getting it.
•        Jeans band in the GDR until the 1970’s
•       The Trabant car was the only allowed automobile in east Germany, sometimes it took up to fifteen years to receive one.
•       Western porn was banned in east Germany.

There was persistent unpredictability of supply in the GDR such as shortages of chocolate, meat and butter. Many people had to improvise or trade when this would happen. Along with this east German salary were very low but life essentials where cheap. This way things such as bread, water and rent were affordable but when purchasing something at a world market price they could be heavily expensive. Selection in shops were poor so when desirable goods came in, they were hard to get your hands on. In addition to this, unemployment was non-existent yet people would question that the state are ‘inventing’ work rather than leaving people idle.

The Stasi was a secret police force which had a large network of intelligence. They were able to infiltrate every facet of society. Constant surveillance. People were afraid to do anything remotely wrong which would bring the STASI onto them. Even if they were against the East German communist government, they were afraid to show it. Citizens of the GDR would live a double life with how they live at home compared to outside their house in public.

Economy - In economy, the decrease of heavy industry (coal mining, steel production) was at its peak; coal mines had already been closed in the 60s to 70s with few exceptions, now steel production was breaking apart. The following restructuring of the German economy led to the expression, that “Germany is the weak man of Europe”

Industry regulation

Homework essay

What meanings are created in the sequence you have studied and what do they tell us about narrative, character development and genre?

Long form TV drama is defined as a number of episodes that help create a narrative and tell a story to an audience. Some typical conventions of this are stock characters, various locations and multiple narratives. One main convention being highlighted in the six-minute clip, we have studied, of a cliff-hanger. This is a technique used by producers to dramatically end an episode to entice audience members to carry on watching. At 45.50 we are introduced to the three boys (Dustin, Lucas and mike) searching for Will in a dark, mysterious woods with the diegetic sound of rain pelting on to them, with the only main source of light being shown through their flashlights. The search is heightened when the non-diegetic sci-fi instrumental is played on top of the rain. The build-up of this helps add tension and mystery to the scene which eventually concludes the episode with the boys finding eleven. To accompany this end of episode cliff hanger, the use of slowly panning inwards, jump cut shots between eleven and the boys is used. This allows us as an audience to see their full facial expressions as to what they are feeling right now i.e. scared, confused, bewildered etc. Once again building the tension and leaving the audience questioning what will happen next. It also demonstrates the multi stranded narrative used as all the series of events throughout the first episode are happening simultaneously to then help link the characters at the end of the episode.

Characters are a main LFTVD convention that is vital for shows such as stranger things to succeed. This is because viewers want to be able to engage and relate with the characters to overall create an emotional bond which will help them stay loyal to the show and fan-base. A character that is short-lived in the first episode is Benny. At first we question whether or not to like him due to his angry, dirty exterior which is then contrasted when he cares for eleven and wants to help her when she seeks shelter at his diner. Their friendship is cut short however as at 39.54 a long shot is used of Connie the social worker shooting benny. This type of shot is used because it gives us elevens point of view so we can experience with her what she has just witnessed. We are provided with a quick close up shot of elevens frightened and shocked face before she makes a quick run to escape. Whilst this is all happening the once low diegetic radio background music of the song ‘White Rabbit’ by Jefferson volume is increased as soon as benny is shot. The use of the now non-diegetic contrapuntal song adds a fast pace and the genre of action to the scene as we watch eleven run away. We as an audience are already left questioning as to why benny was shot and as to who this Connie really is. Its storylines like this in LFTVD which really entice the audience to continue watching so they can piece together who is who and why this happening, to then ensure there is greater audience engagement with the show.

Genres is an element used in LFTVD to attract a wide, demographic audience. The more genres a TV series has the more likely it is that it will gain more viewers. Stranger things adopts genres such as romance, thriller, sci-fi, action etc. all in which help attract a larger audience segment. The genre of sci-fi is used in a scene where Joyce and Jonathan are reminiscing about Will. Mise en scene is used in the byers home to help show the 80’s intertextuality such as the dull coloured clothes Joyce and Jonathan wear which accompanies the dark and muted tones from the interior of the house. This helps reflect their mood of sadness and despair as they have lost someone who is extremely important to them and who they dearly love. Their mother son moment is interrupted when the diegetic sound of a phone ringing is played. The use of a bright yellow 80’s style phone helps signify the importance of it because it stands out against these dark, dull colours. We witness as an audience the perhaps first potential contact with Will since he has been missing. The diegetic sound of the mysterious unknown creature is played through the phone which we first heard at the beginning of the episode when the scientist was captured. Whilst the audience make this connection we also begin to understand that this unknown thing has high significance to the storyline of wills disappearance. SFX is used as an electric shock through the phone which hurts Joyce. This suggests that this supernatural force has great power and doesn’t want communication between Joyce and will to happen showing the sci-fi genre to the audience.  

Fan made Stranger things products

Narrative and technology

Narrative

Narrative-Is a structure or chain of events in which a story is told.

Its carefully considered when writing screenplay for a drama which is then visually achieved through the editing of different shots put together.

Why is narrative important?

• Narrative provides a structure chosen to directly affect how the audience experiences the story.
• The way the story is told can provide certain messages and values about who we see and what is being said. 
• It can affect the audiences involvement with and the enjoyment of the drama.
• Narrative in LFTVD is complex with multiple narrative strands and story lines. 

Types of narrative structure 

Linear narrative - a clear beginning, middle and end. Chronological time frame. Action A leads to action B etc.

Fragmented Narrative (non-linear) - a disrupted or disjointed time lapse. Events/actions shown out of chronological order. This narrative technique is used to help show parallel (supernatural) worlds which can also closely replicate the ways in which the human mind works. Audience participation to try and piece together the story themselves which makes it more interactive. 

Narrative structure answer example

Stranger things employs a fragmented narrative because right from the start we witness multiple parallel plot lines such as the laboratory, Eleven and the boys. We are also provided with a non-chronological narrative strand in the flashback to Joyce and Wills conversation in castle Byers. The fragmented narrative is an enigma and questions for the audience, who have to work to figure out the connection, therefore ensuring greater audience engagement within the episode.  

Types of narrative

Restricted narrative - We as an audience experience the sense and thoughts of just one character (always mostly just focused on the protagonists story line). Narrative cannot tell the audience things that the main character does not know. 

Omnipresent narrative - A panoramic, view of the world not just one, provides point of view for many characters, helps audience see a broader background and is used for telling stories. 

Narrative answer example

The omnipresent narrative provides multiple gratifications for the audience - we can emphasize and identify with some characters, while gaining escapism and mystery from others.

Types of narrative endings

Closed endings - TV dramas traditionally feature one characters story or point of view in an episode, which comes to a resolution at the end. Characters story can exist as one unique story in one episode. Story unraveled before an audience, bought to a conclusion at end of episode. 

Open endings - Episode ends on cliff-hanger. Story-telling technique. In films open endings can be unsatisfying for audiences. Allows continuation of the story. Open ending encourages viewer to continue watching (binge). 

Theorist's 

TODOROV: Equilibrium theory
Narrative is chronological and has a linear sequence of themes.

1. equilibrum (Harmony/exposition)
2. disequilbrium (Downfall/introduction of conflict)
3. recognition (climax)
4.resolution (restore)
5. new equilibrium

STRAUSS: Binary oppositions
We understand the world by the relationship two opposites have together. Narratives arranged around conflict of binary oppositions e.g. man VS woman.

Stranger things Distribution

https://docs.google.com/presentation/d/1-1c6Ikuopbl7ItwvhWcHWAQfXHM3uzCAurdBLl_Wb08/edit?usp=sharing