Applying Academic Ideas to Long Form Television Drama Evolving

Applying Academic Ideas to Long Form Television Drama Evolving Media H409/02

Academic Ideas and Arguments The set academic ideas and arguments for A Level Media Studies are outlined in section 5e of the specification. https://www.ocr.org.uk/Images/316672-specification-accredited-a-level-gcemedia-studies-h409.pdf Academic ideas and arguments only need to be taught in relation to the indepth studies on News and Online Media and Long Form Television Drama. Students need to be able to apply and evaluate the academic ideas in relation to the relevant media products and forms. Further guidance on applying and evaluating academic ideas can be found in the factsheet on our website. https://www.ocr.org.uk/Images/421658-academic-ideas-and-arguments-fact sheet.pdf

Applying Academic Ideas to LFTV Drama This resource explores the application of the set academic ideas and arguments in relation to Long Form Television Drama, exemplified through the set text of Stranger Things (Season 1, Episode 1). It provides suggested prompt questions for analysis, and examples of application and evaluation. Students will need to apply relevant academic ideas and arguments to the chosen LFTV dramas in Question 3, and evaluate the ideas of one specific theorist in Question 4.

Media Language Academic Ideas Semiology – Barthes Narratology – Todorov Genre Theory – Neale Structuralism – Levi-Strauss Postmodernism - Baudrillard

Semiology - Barthes Key Ideas Meaning is communicated through signs which are made up of the signifier (the thing itself) and the signified (the meaning). This process depends on the connotations of a sign. Barthes uses the word myths to describe the way the connotations suggested by a sign have come to be seen as normal and natural. The meanings created by these myths often reflect dominant values and ideologies. One Sentence Meaning is created by signs through connotation, which may Summary naturalize dominant values and ideologies.

Applying Barthes to Stranger Things What signs are used to communicate meaning? Identify the signifier/signified and denotations/connotations. What values might the signs suggest to the audience? Consider the signs used in the sequence which introduces Hopper. Signifiers such as his badge, gun, uniform, and the empty beer cans all communicate meanings in relation to the character but they also suggest values and ideological messages around power and masculinity. This demonstrates the way objects develop a social meaning which reflects dominant ideology. The establishing shot of the Wheeler house in the opening sequence is another example of the way signs work as myths. Whilst the house is just a physical object, the meanings it suggests about ideas of family and home, and the way in which those ideas are viewed as the expected social norm show how signs accrue social meanings which can communicate ideological messages. Semiology is useful for identifying some of the ways in which meaning is communicated in LFTV drama, and for considering how those meanings might relate to social values and ideology. A limitation in its application to LFTV drama is that it does not account for the importance of other media language elements such as genre conventions or narrative structures in creating meaning. It may result in readings which do not reflect the potentially diverse meanings and values audience members may construct.

Narratology - Todorov Key Ideas Todorov identifies the different stages of a narrative, moving from the everyday life of the characters (equilibrium), the disruption to that (disequilibrium), and the resolution of that disruption into a new equilibrium. The key use of Todorov’s theory is in identifying the values and ideologies suggested by the narrative. What does the narrative view as everyday life (the equilibrium)? What values or social norms does this suggest? How is the narrative resolved? How might this relate to social values or ideologies? One Sentence Summary Identifying the different stages of a narrative helps to reveal the values and ideological messages it communicates.

Applying Todorov to Stranger Things What different stages of the narrative can be identified (equilibrium, disequilibrium, etc.)? What values are suggested by the different stages of the narrative? What is the significance of multi-strand narratives to Todorov’s ideas (e.g. does it create limitations? Can different narrative stages be identified for the different narrative strands?)? What are the limitations of Todorov’s ideas due to the use of narrative arcs across multiple episodes? The equilibrium introduces the four boys playing inside a suburban family home – identifying the social norms suggested by the narrative. This sequence focuses on the idea of the nuclear family living in a suburban home as the norm, with responsible parents caring for their children. The disequilibrium is Will’s disappearance – this suggests Will is more vulnerable as a latchkey kid, reinforcing social norms around the nuclear family. There is no resolution of the main narrative arc in episode one. Will’s disappearance is not resolved until the final episode of season one. Applying narratology to only the first episode suggests a different set of values and ideologies than applying it across the whole of the first season. The first episode suggests a socially conservative set of values which portrays the working class single-parent Byers family less positively than the two-parent middle class Wheeler family. However the resolution of the first season sees Joyce Byers go into the Upside Down to rescue Will, whereas the Wheelers are oblivious to what is happening to Nancy and Mike, subverting the ideology established in episode one. Similarly in the first episode the recognition of the disequilibrium and the attempt to repair it is focused around the masculine authority of Hopper and the police. This patriarchal ideology is challenged over the course of the first season by the agency shown by female characters such as Nancy, Joyce, and Eleven. Todorov’s theory is useful in identifying values and ideologies suggested by a narrative, but is less applicable to the multi-strand narrative arcs of LFTV drama.

Genre Theory - Neale Key Ideas Genre depends on the repetition of codes and conventions in media products. Genre conventions are not fixed, but evolve over time as producers subvert established conventions, or use hybridity with other genres. Genre codes are also established beyond media products themselves through sources such as reviews and marketing. One Sentence Summary Genre codes and conventions are established and evolve through repetition within media products and intertextual relay.

Applying Neale to Stranger Things What genre or genres do you think Stranger Things belongs to? Does Stranger Things suggest that genres change over time? How are the conventions of LFTV Drama used within Stranger Things? What evidence is there that genre expectations are shaped by marketing or reviews of Stranger Things? Stranger Things demonstrates generic hybridity, blending a range of elements from genres such as horror and science fiction. Arguably this blending of genres helps it appeal to a broad audience. A range of generic conventions are used including character types, settings, and lighting and sound codes. Neale’s theory is useful for identifying the ways in which genre influences narrative, characters, representations, and the use of technical codes in Stranger Things. It also draws attention to the importance of genre to audience appeal. Genre codes in Stranger Things are potentially less important than its use of intertextuality and narrative to address the audience. It could be argued that the distribution of Stranger Things limits the importance of intertextual relay in constructing genre expectations. As Netflix released all episodes of season one simultaneously reviews and marketing may have had less influence on shaping audience expectations in relation to genre.

Structuralism – Levi-Strauss Key Ideas Levi-Strauss emphasises the importance of binary oppositions in narratives. Binary oppositions are pairs of opposed, conflicting forces. Identifying the pairs of binary oppositions which structure narratives can be used to determine the ideological messages within a text. One Sentence Summary Identifying binary oppositions (pairs of opposed forces) can suggest the ideology of a text.

Applying Levi-Strauss to Stranger Things What pairs of opposing forces can you identify in the episode? What key conflicts are suggested by the binary oppositions? Does one half of a pair seem more powerful than the other? How is the audience intended to respond to the opposing forces? Do the binary oppositions suggest any ideological messages? A range of binary oppositions can be identified in Stranger Things including: adult/child; safety/vulnerability; male/female; masculine/feminine; power/weakness; authority/powerlessness; bully/nerd; popular/outsider; known/unknown; science/paranormal; middle class/working class; nuclear family/single parent family. Generally within the episode the first half of each pair of opposing forces above is seen as more powerful or dominant, however the narrative is arguably more sympathetic to the weaker second half of the pairing. This suggests a more liberal ideological position which is sympathetic to those without social power. Whilst Stranger Things represents a patriarchal society, analysis of the use of binary oppositions suggests a degree of critique at work. Similarly the sympathetic depiction of Will (and to an extent the other three boys) indicates a critique of hegemonic masculinity. The character of Eleven arguably disrupts several of the binary oppositions in relation to both power and gender. Applying Strauss’ ideas can be a useful way of identifying key conflicts and values within LFTV drama as well as suggesting intended audience response. This can help to identify ideological messages communicated. Application of Strauss’ ideas may lead to assumptions about audience response, and does not consider the influence of other elements such as technical or genre codes on audience response.

Postmodernism - Baudrillard Key Ideas Images and signs are now the key feature of our society. Postmodernism challenges the established order and calls into question fixed ideas about identity. Hyperreality is the idea that representations are now more powerful and ‘real’ than reality. Hyperreal representations don’t represent reality, instead they are representations of representations. One Sentence Summary In postmodern cultures representations are more powerful than reality, and representations themselves no longer relate to reality.

Applying Baudrillard to Stranger Things To what extent does Stranger Things rely on signifiers (props, costume, music) of the 1980s to represent the time period? In what ways does Stranger Things challenge fixed ideas about identity? How important are other media texts to the representations in Stranger Things? Stranger Things can be described as hyperreal. It is a representation that is based on other media representations. The density of intertextuality that underpins Stranger Things results in a representation of small town America in the 1980s that is based on media texts of that era. The representation of the 1980s in Stranger Things depends on signs – costumes, hair styles, props, set design, music, pop culture references – creating a hyperreal version of the 1980s. There is no attempt to represent the lived reality of 1980s America. Baudrillard’s ideas are a very useful way to analyse how representations are constructed and the way meaning is made in a media text such as Stranger Things due to its extensive use of intertextuality and the predominance of signifiers to represent a historical time period. It does not help to consider LFTV drama specifically as a media form, and it does not consider the pleasures of Intertextuality in Stranger hyperreal media texts forThings audiences. https://youtu.be/wBjgFt6lVHM https://youtu.be/AwTpsw-ufDA

Media Representation Academic Ideas Theories of Representation – Hall Theories of Identity – Gauntlett Feminist Theory – van Zoonen Feminist Theory – hooks Theories of Gender Performativity – Butler Theories Around Ethnicity, and Post-Colonial Theory - Gilroy

Theories of Representation - Hall Key Ideas Hall suggests that when analysing representation the focus should not be on the relationship between representation and ‘reality’ but on the potential meanings constructed. A key focus for representation analysis should be on who or what is represented, who or what is not represented, and suggestions of difference. Representations may intend to fix meanings in a ‘preferred reading’, but audiences can contest meanings. One Sentence Summary Representation is the process of creating meaning; whilst producers may try to fix meanings, audiences can resist this.

Applying Hall to Stranger Things Who is represented and who is not represented? How are social groups represented differently? Can you identify a preferred reading? How have producers attempted to fix meanings in relation to representation (e.g. through stereotypes or ideology)? The social groups represented in Stranger Things construct a representation of a predominantly white, patriarchal, heteronormative society. Considering the social groups absent from the representation (e.g. gay characters, female characters in positions of social power) is a useful way to identify the ideologies at work – although some of these ideologies are arguably challenged to a degree across the narrative of season one. A range of preferred readings can be identified in episode one, often with stereotypes being used as an attempt to fix meaning, e.g. vulnerable child, harassed single mother, emotionally repressed male. However, the audience may respond in a range of ways to these representations. Hall’s approach is useful in analysing the processes of representation in a media product. It draws attention to the way in which the preferred reading of the representation is fixed, and how that reading may be resisted or challenged by audiences. Applying Hall to one episode of a LFTV drama may neglect the ways in which characters develop and evolve across the course of the more complex narratives of LFTV drama. Hall on Representation https://youtu.be/aTzMsPqssOY

Theories of Identity - Gauntlett Key Ideas Media representations portray a wide range of different and contradictory messages about identity, which can be used by audiences to think through their own identities. Identities including gender and sexuality are now seen as less fixed than they were in the past. Online media allow people to express and explore their identities. One Sentence Summary Media representations offer us a range of diverse and contradictory messages about identity, with the media being used by audiences to explore and express their identities.

Applying Gauntlett to Stranger Things What messages are suggested about different identities (e.g. gender, social class, sexuality)? Are some social groups represented in contradictory ways (e.g. are there representations of different male identities?)? What evidence is there to suggest that identities are not fixed? Given its historical setting does the representation of the past suggest that identities were more fixed in the 1980s than they are now? Does online fan culture for Stranger Things offer self-expression to audiences? The representation of 1980s society may suggest that identities were more fixed in the past than they are in contemporary society. The first episode depicts a world of patriarchal power and entrenched gender roles, which can be contrasted to an extent with contemporary society. Despite this the representation of some social groups suggests identities are less fixed and communicates contradictory ideas about identity. Consider the contrasting representations of masculinity and male identity through characters such as Hopper, Mr Wheeler, Mr Clark, Jonathan, Steve, and Will. Online Stranger Things fan culture has allowed self-expression and identification with characters (itself a way of expressing identity). The vast amount of online fan culture including fan art, fan fiction, and memes demonstrates the way in which online media allows audiences to participate in popular culture, and to express their own identities. This perspective is useful for identifying the different ways in which LFTV drama represents social groups, and considering the relationship between audiences, identities, and media products. It emphasises the power of the audience and so does not take into account the importance of media producers, or existing genres and narratives, in constructing representations of identity.

Feminist Theory – van Zoonen Key Ideas Women are often objectified (viewed as sexual objects) in media representations. Van Zoonen emphasises the importance of gender being seen as socially and culturally constructed, as a result gender can vary depending on cultural and historical contexts. Gender is expressed in a diverse range of ways on the internet. One Sentence Summary Women are objectified in media representations in patriarchal culture; gender identity is determined by cultural and historical contexts.

Applying van Zoonen to Stranger Things Is there a difference between the way male and female characters are represented? How does Stranger Things represent the social position of female characters in 1980s America? The representation of gender in Stranger Things arguably reflects the patriarchal nature of 1980s America and the 1980s media representations which influenced Stranger Things. A number of female characters are represented in subordinate or stereotypically female roles such as Florence (Hawkins Police secretary), Mrs Wheeler (housewife), Joyce (single mother in a low paid job), and Eleven (during her time held in the Hawkins National Laboratory). The more empowered representation of Eleven (such as when she escapes capture at the end of the episode), the representation of Nancy as good at science, and the ways in which Nancy, Eleven, and Joyce become more empowered across the narrative arcs of the first season can be seen as reflecting the contemporary cultural context in which representations of female empowerment are in demand. The representation of female characters in Stranger Things does not rely on the objectification of female characters. This could reflect an attempt to construct a more progressive representation. This approach is useful for considering gender roles within specific social and historical contexts. The focus solely on gender neglects the significance of other factors, such as social class, on representations of power relations within television drama.

Feminist Theory – hooks Key Ideas Feminist critiques of the media focus on challenging patriarchal and sexist representations. Intersectionality considers the ways in which multiple identities and systems of oppression overlap, e.g. in relation to the multiple identities that create an individual identity (gender, race, social class, sexuality, etc.). Intersectional approaches to feminism draw attention to the importance of considering how the interactions of identities results in oppression. hooks argues media representations often reflect these oppressive ideologies. One Sentence Summary Feminism challenges patriarchy, with hooks arguing for an intersectional approach considering how identities such as race, class and sexuality contribute to oppression alongside gender.

Applying hooks to Stranger Things How is gender represented in Stranger Things? Does Stranger Things depict a patriarchal society? How do identities other than gender (e.g. social class, ethnicity) impact on the social position of the female characters? Stranger Things represents a patriarchal social order with a range of male characters shown in positions of power and authority (Hopper, Dr Brennan, Principal Coleman, Joyce’s boss). Female characters are often shown in less powerful social positions. Arguably the patriarchal nature of the representation results from the 1980s setting reflecting the more rigid social structure and gender roles of the time period. Whilst episode one establishes the patriarchal nature of the society Stranger Things is set in, over the course of season one the narrative often subverts this through the increasingly empowered representation of female characters such as Nancy, Joyce and Eleven. An intersectional approach to Stranger Things may draw attention to the impact of social class, allowing for a consideration of the differences between Joyce as a working class single mother and Mrs Wheeler as a middle class housewife. hooks’ approach may also draw attention to the focus on representations of white woman and the absence of any significant female characters from other ethnicities. Whilst Stranger Things may develop a narrative of female empowerment it is focused solely on the empowerment of white female characters. Applying hooks to the analysis of representation in LFTV drama helps to identify the ideological messages communicated in relation to gender, whilst encouraging a focus on the inequalities suggested by the representations in relation to identities such as ethnicity and social class. Whilst this is a useful approach to analyse representation it does not consider the ways in which representations are constructed within LFTV drama, or consider how audiences may respond or be expected to respond to representations of social inequality.

Theories of Gender Performativity - Butler Key Ideas Butler argues that gender identity is not something we are born with, it is something expressed through the performance of gender roles. Gender is constructed through the performance of socially learned behaviours rather than expressed by them. Butler believes that gender and sexual identity cannot be categorised into simple binary systems. One Sentence Summary Gender identity is not something we are born with but something we express through the performance of it; Butler challenges the notion of fixed binary identities of sexuality and gender.

Applying Butler to Stranger Things Which characters’ performance of gender roles conform to social expectations? Which characters challenge normative gender roles? Are characters treated differently based on how they perform gender roles? The character of Eleven does not conform to gender norms, and is mistaken for a boy by Benny the diner owner. Because Eleven has been raised in isolation she has not learned how to perform a normative gender role. This supports Butler’s idea that there is no essential gender identity. As Eleven becomes more socialised across the narrative of season one her performance of gender norms increasingly conforms to social norms. Will is also represented as not conforming to masculine gender roles as he is described by Joyce as being more sensitive and feminine. Both characters can be seen as examples of what Butler calls ‘gender trouble’ as they do not conform to gender norms. The way other characters react to them shows how gender norms are policed and reinforced (e.g. Will being bullied). Butler’s approach is useful for considering how gender roles are performed and subverted by characters in LFTV drama, however Butler’s theory applies to how people experience gender rather than how representations of gender are constructed within media products such as LFTV dramas. Butler on Gender Performativity https://youtu.be/Bo7o2LYATDc

Theories around Ethnicity and Post-Colonial Theory – Gilroy Key Ideas The Black Atlantic suggests the way in which black cultures blend elements of different African, American, Caribbean, and European cultures. Postcolonialism suggests the ways in which colonial history continues to influence attitudes to ethnicity with an assumption of the superiority of white western cultures. One Sentence Summary The history of colonialism continues to influence attitudes to ethnicity in western societies.

Applying Gilroy to Stranger Things How is ethnicity represented in Stranger Things? What attitudes to ethnicity are evident? Gilroy’s view that colonialism continues to influence attitudes to ethnicity can arguably be seen in Stranger Things which focuses on a social world which is predominantly white. Whilst there are a small number of black characters (Lucas, Officer Callahan, Principal Coleman) who can be seen as broadly positive representations, they are generally supporting or minor characters. The narrative is focused on and driven by white characters. Gilroy’s approach is helpful in identifying issues around the representation of ethnicity in LFTV dramas and drawing attention to the way in which media representations are often addressed to a white audience and as a result marginalise other ethnicities. Whilst this approach is useful for identifying messages and values communicated in relation to ethnicity it doesn’t help to consider the ways in which those messages are constructed or interpreted by the audience. The focus solely on ethnicity does not consider the significance of the representation of other social groups such as gender, sexuality, or social class.

Media Industries Academic Ideas Power and Media Industries – Curran and Seaton Regulation – Livingstone and Lunt Cultural Industries - Hesmondhalgh

Power and Media Industries – Curran and Seaton Key Ideas Media ownership is the most significant factor in the way media industries work. The concentration of media ownership means the media industry is dominated by a small number of conglomerates, which limits the viewpoints represented. Despite the development of online media the established major media organisations continue to be dominant. One Sentence Summary Media ownership is the most important influence on the media, with a small number of major conglomerates continuing to dominate the media industry despite the emergence of the internet.

Applying Curran and Seaton to Stranger Things What is the ownership structure of Netflix? What evidence is there that Netflix either restricts or encourages access to a diverse range of content? The success of Netflix may undermine Curran and Seaton’s view that the internet does not challenge the dominance of established media institutions, as Netflix has emerged as a significant competitor in the television market. Similarly the process of the concentration of media ownership cannot be applied at this time to Netflix. However streaming television is dominated by a small number of companies such as Netflix and Amazon, resulting in an oligopoly which arguably limits audience choice. Whilst Netflix does still act as a gatekeeper for content it could be argued that it does offer a platform for media products from diverse cultures. The massive investment in original content by Netflix can also be seen to challenge Curran and Seaton’s arguments, with the production of prestige content a key strategy for growth. However, the success of Stranger Things can be seen to result from its reliance on commercially successful genres and narratives, and it is produced by established industry producers such as Shawn Levy. Applying Curran and Seaton to LFTV drama is useful for considering the ways in which media ownership can impact upon production and distribution of television content, however it does not consider the ways in which media productions are shaped by audience demand and it arguably underestimates the impact of online media.

Regulation – Livingstone and Lunt Key Ideas Media regulation serves a variety of purposes and must balance a range of consumer/citizen needs. Regulation is needed to make sure the media promotes public interests. Traditional forms of media regulation are being challenged by the online and globalised media culture resulting from technological developments such as the internet. One Sentence Summary Media regulation is necessary to protect consumers and make sure media industries act in the public interest, however this is being undermined by the development of a global online media culture.

Applying Livingstone and Lunt to Stranger Things What are the differences between the regulation of broadcast and streaming television? What does Netflix suggest about the challenges to regulation posed by the rise of online media? Netflix has to abide by EU regulations, but is outside the scope of the UK regulator for television, Ofcom. This illustrates the challenges for regulators posed by global and online media distribution. As a result regulations which apply to UK television broadcasters do not apply to Netflix, and some regulations (such as the watershed) are only suitable for broadcast television rather than streaming services. Stranger Things contains scenes which could potentially be distressing to young audiences (e.g. the opening sequence, the shooting of Benny), but Netflix does not restrict access to this content leaving it to the account holder to manage access to their account or make use of parental controls. https://www.radiotimes.com/news/2018-05-04/how-is-the-watershed-changing-in-the-modern-tv-world / Ofcom have identified that ‘changing technology, audience fragmentation and global competition’ pose risks to public service broadcasters such as the BBC. In order to protect the public interest served by public service broadcasting Ofcom want UK broadcasters to work together to compete with streaming services and to continue to adapt to the challenges of the digital age by ‘finding new ways to distribute programmes; capture younger audiences; and make world-class content that reflects life in the UK’. https://www.ofcom.org.uk/about-ofcom/latest/media/media-releases/2018/streaming-overtakes-pay-tv Applying Livingstone and Lunt is a useful way of considering the impact of technological developments on television broadcasters and audiences however it does not suggest anything about how audiences engage with media products, nor about the impact of ownership on the content produced.

Cultural Industries – Hesmondhalgh Key Ideas Similarly to Curran and Seaton, Hesmondhalgh sees media industries as being dominated by a small number of conglomerates. The high production costs and ease of reproduction and sharing of media products means media industries use a number of methods to reduce risk. These include vertical integration, and the reliance on established genres, stars and narratives. One Sentence Summary Media industries are dominated by a small number of media conglomerates, who rely on the repetition of popular genres, stars and narratives to reduce risk.

Applying Hesmondhalgh to Stranger Things Who produced Stranger Things? What does this tell us about media ownership? To what extent have the producers of Stranger Things used established genres, stars and narratives in order to appeal to the audience? Hesmondhalgh is useful for considering the ways in which Stranger Things is designed to appeal to a broad audience. A range of strategies including the use of popular genres such as horror and sci-fi, the use of wellknown actors such as Winona Ryder, the influence of popular films on the narrative and characters (e.g. E.T.), 1980s nostalgia, and the mix of young and adult characters all help Stranger Things to have broad audience appeal. The use of data and algorithms by Netflix to engineer original productions to appeal to its audience is another way in which it can avoid risk, and links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Hesmondhalgh’s focus on ownership does not take into account the active role of audience interaction with media products, and does not consider the cultural or ideological elements at work in media products such as LFTV drama. Netflix can be seen as a challenger to established media organisations, disrupting the dominance of a small number of media conglomerates, although it is one of a small number of companies dominating the market for streaming services.

Media Audiences Academic Ideas Media Effects – Bandura Cultivation Theory – Gerbner Reception Theory – Hall Fandom – Jenkins ‘End of Audience’ Theories - Shirky

Media Effects - Bandura Key Ideas Bandura believes that the media can have a direct influence on the values and behaviour of audience members. The media can also have an indirect influence through social networks. He argues that audiences may imitate behaviours they see represented in the media. One Sentence Summary Media representations can directly and indirectly influence audience values and behaviours.

Applying Bandura to Stranger Things What messages about society are communicated in Stranger Things? How could Stranger Things influence audience values or behaviours? The representations in Stranger Things could influence people’s beliefs and attitudes, e.g. towards different social groups such as gender, social class, ethnicity. For example the representation of male characters in positions of authority may reinforce patriarchal ideas about gender roles. Stranger Things features some scenes of violence and aggressive behaviour (e.g. bullying) which could influence people’s behaviour. The application of Bandura’s ideas draws attention to the importance of regulation, however it may result in simplistic assumptions about the impact of media representations. Application of Bandura’s theories to LFTV drama may ignore the ways in which behaviours and values are framed critically within media texts, and the different ways in which audience members may engage with the meanings communicated. Bandura and Social Learning Theory https://youtu.be/zerCK0lRjp8

Cultivation Theory - Gerbner Key Ideas Gerbner suggests that the media can influence the audience over a long period. Gerbner found that people who watched a lot of television were likely to have a more negative view of the world (mean world syndrome) than people who did not watch a lot of television. People who watched a lot of television were likely to have similar views – something he called ‘mainstreaming’. One Sentence Summary The media can influence audience perceptions of the world over a long period of time through the repetition of similar messages.

Applying Gerbner to Stranger Things What messages about society are communicated in Stranger Things? Is Stranger Things likely to reinforce existing values or beliefs? Stranger Things reflects a range of social values in relation to areas such as gender roles and the family. Its depiction of social norms can be seen as an example of mainstreaming although the complexity of representations and the different ways in which audiences may engage with these representations would arguably limit their impact upon the audience. Stranger Things potentially contributes to mean world syndrome through its depiction of the vulnerability of children, and its representation of sinister government conspiracies. Gerbner’s perspective is useful for considering the ways in which media products may shape audience attitudes over a period of time, and draws attention to the mainstreaming of values and attitudes. Television viewing is now much more fragmented than in the 1970s when Gerbner’s studies took place, as a result the ability of television to cultivate attitudes and values through the repetition of similar messages to mass audiences has arguably been lessened. Gerbner’s views underestimate the diverse and contradictory nature of media representations, and does not consider the ways in which audience members (especially in the online age) can actively engage with media texts and reject the values and beliefs communicated.

Reception Theory - Hall Key Ideas Producers encode meaning (the preferred reading) through shared codes (such as technical codes and genres). Hall argues audiences respond to the preferred reading in one of three different ways. Audiences either accept the preferred reading (the dominant position), reject it (the oppositional position), or accept some elements but modify aspects to fit their own views or experiences (negotiated position). One Sentence Summary Producers encode preferred meanings into media texts, which audiences respond to in one of three ways.

Applying Hall to Stranger Things What preferred readings can you identify in Stranger Things? How have these meanings been encoded? In what different ways could audiences respond to these meanings? A range of preferred readings can be identified in Stranger Things. Consider the sequence which introduces the four boys followed by Will’s disappearance. What elements are used to encourage the audience to sympathise with Will and fear for his safety? What different ways could the audience respond to this? The encoding/decoding model is a useful way to break down how meaning is constructed in LFTV dramas, and the ways in which those meanings are decoded and interpreted by audiences. It draws attention to the importance of identifying the ways in which elements such as technical codes and genre conventions are used by producers to construct specific meanings and effects, and also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. Hall’s perspective focused on the communication of one preferred reading, neglecting the possibility that the messages communicated by a media text may contain multiple or contradictory meanings. For example the representation of gender roles in episode one depicts a patriarchal society, however it is one in which the power of male authority figures (such as Hopper and Mr Wheeler) is arguably subverted. As a result there is not a single preferred reading in relation to gender, but multiple meanings which could be interpreted in multiple ways by the audience.

Fandom - Jenkins Key Ideas Jenkins and Participatory Culture youtu.be/ZCKoLB1kUsY Participatory culture is the idea that the development of new media allows the audience to be active and creative participants rather than simply passive consumers. Audience members become textual poachers taking aspects from media texts to create their own content. Convergence culture - media is shared, adapted, and consumed constantly on a range of different platforms. Spreadable media - content that is adapted by audience members for their own purpose and shared with others. One Sentence Summary The development of online media has allowed audiences to participate in media culture, adapting media products to create their own content which is shared with online audiences.

Applying Jenkins to Stranger Things What examples can you find of textual poaching and convergence culture in relation to Stranger Things? How does Stranger Things demonstrate the idea of spreadable media? What do Jenkins’s ideas suggest about the way audiences engages with LFTV drama? How important is spreadable media to the success of a media product? Stranger Things demonstrates the participatory nature of media audiences and the use of textual poaching. There is extensive evidence of fan culture for Stranger Things including fan art, fan fiction, memes, and social media posts and interactions. The ‘Justice for Barb’ meme is a good example of convergence culture as something which emerged from the audience. It arguably suggests the way in which fan culture can interact with media production, demonstrated in the season two storyline focused on Barb’s parents which was a response to audience reaction to the character of Barb. Social media also allows audiences to interact with actors, writers, and producers. An example of this is the actor who plays Will Byers using Instagram to respond to online fan discussions about the character’s sexuality. https://goo.gl/g3KE73 The success of Stranger Things may be partly down to its spreadability. The use of intertextuality, retro styles, appealing characters, and cast members active on social media all make it suited to the creation of shareable content. Jenkins’ ideas are useful for considering how audiences actively engage with media products across different platforms, but does not support discussion of the ways in which meanings are constructed by producers within LFTV drama.

‘End of Audience’ Theories - Shirky Key Ideas Technological developments have changed the relationship between media producers and audiences. In the past media producers created content for audiences, now content can be created by audiences. Prosumers have different motivations to professional media producers. This can create cognitive surplus, where potentially large numbers of people give their time and expertise to create something (e.g. Wikipedia). Audiences can no longer be seen as a single mass of people. Audiences engage differently with media products across different platforms, with some audience members now creating or adapting media products themselves. One Sentence Summary Technological developments have changed the ways in which audiences engage with media culture, leading to the rise of user generated content and reducing the power of media producers to act as gatekeepers.

Applying Shirky to Stranger Things How does Stranger Things suggest that audiences engage with media products in different ways across different platforms? What evidence is there of user-generated content in relation to Stranger Things? Stranger Things fan culture demonstrates the different ways in which audiences engage actively with media products. The ‘Justice for Barb’ meme is an example of media audiences who ‘speak back’ to the media. The Stranger Things fan wiki is an example of cognitive surplus – people using their free time creatively to produce content. https://strangerthings.fandom.com/wiki/Stranger Things To an extent the Netflix model is a shift away from the restricted nature of television production, distribution and consumption. Shirky’s ideas are useful for identifying how new media technologies have changed the ways audiences engage with media products, and can become active producers themselves. It also draws attention to the different ways audience consume and interact with media products. However Netflix, and other distributors of LFTV drama, still act as gatekeepers following the ‘filter then publish’ model. Shirky and Social Media https://youtu.be/ASZJE15E0SY

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