EVALUATE: BAUDRILLARD

Postmodernism is characterised by rejection of Modernist beliefs, like the primacy of science. The first scene of Stranger Things depicts a scientist attacked by a creature in a shady government laboratory, and scientist, Dr. Brenner, is the antagonist. However, we may be wrong to apply postmodern values to this trope as it may simply be the repetition of a Sci Fi convention. D83, opens on Lenora listening to Ronald Reagan’s ‘evil empire’ speech. Reagan’s vision of capitalism is arguably modernist in the way it embraces social and scientific progress, but we could also argue that its globalist rejection of nationalism is postmodern. Baudrillard would, no doubt, embrace this ambiguity, but it seems unlikely that the Winger’s intend a comment in either direction. Like Stranger Things, this opening is likely attributable to genre. While Stranger Things is repeating a SciFi convention, D83 is subverting the ‘80s spy-thriller' genre by establishing NATO as the antagonist to a communist ‘hero.’ In both cases, Neale may be more useful in understanding these narrative decisions.

 

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Baudrillard theorises simulations lead to a state of hyperreality. Stranger Things relies on signifiers (mise en scene and music) to construct its hyperreal diegesis, even using Leica Summilux-C lenses to recreate the visual style of Spielberg’s late 20th-century classics (Goonies, E.T. etc). One of the pleasures of watching Stranger Things is nostalgia. But nostalgia for what? Not, the reality of 1980s small town life. It is nostalgia for the simulacrum. Stranger Things attempts to simulate a feeling: of family, adventure, camaraderie, the Spielbergian American Dream. It’s a copy, of a copy, of a copy. D83, also makes use of signifiers (mise en scene, music etc.) to construct its historical diegesis. In one scene Lenora passes a Puma T-Shirt, Adidas Trainers and Levi Jeans to Martin (a close up highlights the brands). Within the narrative, they are the East German attempt to simulate the appearance of a capitalist West German. Moreover, these labels are worn by West Germans because they are simulacra of consumerist freedom. A copy, of a copy, of a copy. So Baudrillard can be very useful as he allows us to decode multiple layers of preferred reading which may not be otherwise available.

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Baudrillard also theorises that Postmodernity is characterised by an implosion of socio-cultural distinctions. Stranger Things and D83, both seem to reject this. Stranger Things, presents a patriarchal culture with clearly demarcated roles within both work and family life, D83’s vision of West Germany is similarly patriarchal. However, in both instances this may be a comment on the 1980s historical setting and even here there are indications that the implosion is underway. Nancy counter typically excels at science and develops into an intrepid investigator despite being the girlfriend of the most popular boy in school. Lenora may dress like a stereotypical western woman, but she is the ruthless leader of East Germany’s HVA. Baudrillard may be a useful step in the right direction of noticing these proto implosions, but we really need Gauntlett to argue that these contradictory messages represent an increasingly open attitude to gender identity that is valued by 2016 audiences.

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