2020 - Stranger Things uses a lot of intertextual references to appeal to its target audience. For example, Eleven’s character may be an intertextual reference to ‘E.T.’ This plays on nostalgia that would appeal to the target audience, and therefore, would contribute to the economic success of Stranger Things. Hesmondalgh would suggest that the intertextual references help to minimise risk as it increases the change of success by playing on 1980s nostalgia. On the other hand, the intertextual references may just be coincidental as the programme is a hybrid of many different genres (sci-if, horror, teen drama etc). Netflix has a reputation for allowing its filmmakers creative freedom which may have resulted in subconscious references to popular 80s cinema. The hybridity of genres allows Stranger Things to appeal to a wide audience which would also minimise the financial risk. Stranger Things uses intertextuality to appeal to a wide target audience and minimise economic risk.
'Long form television dramas lack originality; no matter which country they are made in, they all use intertextuality in the same way.' How far do you agree with this statement? Stranger Things uses a lot of intertextual references to appeal to its target audience. For example, Eleven’s character may be an intertextual reference to ‘E.T.’ This plays on nostalgia that would appeal to the target audience, and therefore, would contribute to the economic success of Stranger Things. Hesmondalgh would suggest that the intertextual references help to minimise risk as it increases the change of success by playing on 1980s nostalgia. On the other hand, the intertextual references may just be coincidental as the programme is a hybrid of many different genres (sci-if, horror, teen drama etc). Netflix has a reputation for allowing its filmmakers creative freedom which may have resulted in subconscious references to popular 80s cinema. The hybridity of genres allows Stranger Things to appeal to a wide audience which would also minimise the financial risk. Stranger Things uses intertextuality to appeal to a wide target audience and minimise economic risk.
Q. 2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all use intertextuality in the same way.’ How far do you agree with this statement?
In order to effectively argue that LTFVD’s lack originality is due to their use of intertextuality in the same way, we need to consider the economic contexts. In creating ‘Stranger Things’, Netflix took a data-driven approach in order to give recommendations and inform production decisions to cater to the audience’s preferences, as well as offering creative freedom to filmmakers and writers who foster innovation and originality in their productions. The combination of allowing original material whilst approaching the production with a data-driven approach has arguably allowed Netflix to avoid risk if Hesmondhalgh is applied. Through Hesmondhalgh we can see that Stranger Things was designed to appeal to a broader audience and this is done through a range of strategies including intertextual references to 1980s nostalgia and popular films from the time – such as Spielberg’s ET. This may not have been to simply broaden the target audience due to Hesmondhalgh’s view that digital technology had led to an increased surveillance on audiences by companies. Therefore, these intertextual references could have been used to create audience satisfaction. Applying Jenkins, we can also understand that the inclusion of intertextual references was to ensure the show’s spreadability as it makes it more suited to the creation of sharable content by it’s fandom. It can be argued that ‘Stranger Things’ uses intertextuality in a different way due to the success of it and the cultural impact that the show had, with the series becoming a flagship series for Netflix whilst demonstrating the power or original content in driving subscriptions and viewer engagement on the platform. This conveys that intertextuality can be used as a tool to boost original content rather than simply broadening the target audience.
Economic contexts can provide us with informative insight into the importance of incorporating the dominant conventions, viewpoint and ideologies of the country in which they were made. To some degree, financial success must be dependent on fulfilling the expectations of audiences, especially for high budget flagship shows like ‘Stranger Things.’ We could argue that the high production values on display in the show (from the quality of writing and acting, to the convincing use of mise en scene and special effects) is not only a contributor to its success, but also acknowledges the prestige U.S. market, whose consumerist ideology expects high quality productions. HESMONDHALGH points out that production companies are risk averse and avoid the high cost of failure by following tried and tested methods of attracting audiences. While it is not clear that these methods incorporate viewpoints and ideologies, they do form dominant conventions for audience consumption. For example, 'Stranger Things' made extensive use of genre to attract a target audience, as can be seen through what NEALE calls the intertextual relay, which included the trailer for the show demonstrating the inclusion of tropes from sci fi, horror, teen drama and adventure. Netflix’ use of data and algorithms 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. While this data is unlikely to be directly linked to national viewpoints and ideologies, it will almost certainly reflect these viewpoints. This may have influenced Netflix to commission a show that is so deeply nostalgic, perhaps reflecting the yearning in U.S. audiences for a time that it sees as simpler, especially regarding viewpoints and ideologies around gender norms and family values; however, given the slightly unconventional natures of the key characters producers may be encouraging audiences to reject the dominant hegemonic view at the time, its economic success then being dependent on challenging dominant viewpoints and ideologies.
2020: LFTV dramas lack originality, no matter which country they are made in, they all use intertextuality in the same way.
ST: Some argue that LFTVDs, such as Netflix’s 2016 sci-fi-horror programme ‘Stranger Things’, lack originality, particularly due to reliance on intertextual referencing. Theorists such as Harry Jenkins have suggested that the act of ‘textual poaching’ has had a largely positive effect on the modern media landscape, generating a new ‘collective intelligence’ outside formal education systems. One could argue that Stranger Things itself is a form of textual poaching, with writer/director duo The Duffer Brothers having based the TV series largely on their own interest of American Sci-Fi, Horror and Comedy films from the 80s. Taking inspiration from works such as ‘The Goonies’, or Spielberg’s ‘ET’ (highlighted in the bike riding scenes of episode 1) has allowed the pair to not only stimulate nostalgia, but also create a hydridic approach to serial narrative genre. Theorists such as Neale suggest that genre is not a fixed binary and evolves throughout time, with each new work altering the shape and audience’s understanding of what a certain genre is. ‘Stranger Things’ does not copy the films and TV programmes that have come before it, but instead add to the inevitable development of genre with a modern-day outlook on previous techniques. The versatility of its concept has allowed it to be marketed to much vaster audiences than typical LFTVDs, making it very suitable for streaming giant ‘Netflix’, which has become an increasingly mainstream platform. The show has been extremely economically successful for the conglomerate, becoming its 2nd most viewed TV series of all time. Therefore, saying that ‘Stranger Things’ lacks originality would be minimising the complexity of the integration of fact and fiction to create the Duffer Brothers’ fictional universe, where intertextuality has been purposefully and thoughtfully.
D83: However, in programmes such as the 2016 espionage thrilled ‘Deutschland 83’, intertextual referencing has been utilised in a far different form. Deutschland 83 is set in East and West Berlin during the heightening of tensions during the Cold War in the 1980s. Intertextuality is embedded in the use of costuming (Martin’s West German disguise of branded trainers, jeans and T-shirts), music (‘Sweet Dreams’ and ‘99 luftballoons’) and scenery to reflect the time period it is set in. A particularly significant example of intertextuality can also be seen in the programme’s opening, in which East German spy Leonora tiredly watches Ronald Regan’s ‘evil empire’ speech that condemns the Soviet Union on television. Whilst this use of intertextuality may not be particularly original, it is still essential to the narrative. Immediately presenting the audience with a recognisable historical figure (Regan), allows the audience to recognise the time period and character’s political alignment without using unsubtle referencing in dialogue, which is far less harmful than repeated intertextuality usage. Theorists such as Hesmondhalgh emphasise the industry view on the importance of risk aversion in the production of programming. In this case, using a recognisable genre (historical/spy thriller) with its conventions (time appropriate intertextual referencing) allowed the show to be economically viable. In examples of sober, complex narratives such as D83, the replicated use of intertextuality from other LFTVDs of its kind seem to be logical rather than lazy or unoriginal writing and production.
2020 -
ReplyDeleteStranger Things uses a lot of intertextual references to appeal to its target audience. For example, Eleven’s character may be an intertextual reference to ‘E.T.’ This plays on nostalgia that would appeal to the target audience, and therefore, would contribute to the economic success of Stranger Things. Hesmondalgh would suggest that the intertextual references help to minimise risk as it increases the change of success by playing on 1980s nostalgia. On the other hand, the intertextual references may just be coincidental as the programme is a hybrid of many different genres (sci-if, horror, teen drama etc). Netflix has a reputation for allowing its filmmakers creative freedom which may have resulted in subconscious references to popular 80s cinema. The hybridity of genres allows Stranger Things to appeal to a wide audience which would also minimise the financial risk. Stranger Things uses intertextuality to appeal to a wide target audience and minimise economic risk.
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ReplyDelete'Long form television dramas lack originality; no matter which country they are made in, they all use intertextuality in the same way.' How far do you agree with this statement?
ReplyDelete
Stranger Things uses a lot of intertextual references to appeal to its target audience. For example, Eleven’s character may be an intertextual reference to ‘E.T.’ This plays on nostalgia that would appeal to the target audience, and therefore, would contribute to the economic success of Stranger Things. Hesmondalgh would suggest that the intertextual references help to minimise risk as it increases the change of success by playing on 1980s nostalgia. On the other hand, the intertextual references may just be coincidental as the programme is a hybrid of many different genres (sci-if, horror, teen drama etc). Netflix has a reputation for allowing its filmmakers creative freedom which may have resulted in subconscious references to popular 80s cinema. The hybridity of genres allows Stranger Things to appeal to a wide audience which would also minimise the financial risk. Stranger Things uses intertextuality to appeal to a wide target audience and minimise economic risk.
Q. 2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all use intertextuality in the same way.’ How far do you agree with this statement?
ReplyDeleteIn order to effectively argue that LTFVD’s lack originality is due to their use of intertextuality in the same way, we need to consider the economic contexts. In creating ‘Stranger Things’, Netflix took a data-driven approach in order to give recommendations and inform production decisions to cater to the audience’s preferences, as well as offering creative freedom to filmmakers and writers who foster innovation and originality in their productions. The combination of allowing original material whilst approaching the production with a data-driven approach has arguably allowed Netflix to avoid risk if Hesmondhalgh is applied. Through Hesmondhalgh we can see that Stranger Things was designed to appeal to a broader audience and this is done through a range of strategies including intertextual references to 1980s nostalgia and popular films from the time – such as Spielberg’s ET. This may not have been to simply broaden the target audience due to Hesmondhalgh’s view that digital technology had led to an increased surveillance on audiences by companies. Therefore, these intertextual references could have been used to create audience satisfaction. Applying Jenkins, we can also understand that the inclusion of intertextual references was to ensure the show’s spreadability as it makes it more suited to the creation of sharable content by it’s fandom. It can be argued that ‘Stranger Things’ uses intertextuality in a different way due to the success of it and the cultural impact that the show had, with the series becoming a flagship series for Netflix whilst demonstrating the power or original content in driving subscriptions and viewer engagement on the platform. This conveys that intertextuality can be used as a tool to boost original content rather than simply broadening the target audience.
This comment has been removed by the author.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteEconomic contexts can provide us with informative insight into the importance of incorporating the dominant conventions, viewpoint and ideologies of the country in which they were made. To some degree, financial success must be dependent on fulfilling the expectations of audiences, especially for high budget flagship shows like ‘Stranger Things.’ We could argue that the high production values on display in the show (from the quality of writing and acting, to the convincing use of mise en scene and special effects) is not only a contributor to its success, but also acknowledges the prestige U.S. market, whose consumerist ideology expects high quality productions. HESMONDHALGH points out that production companies are risk averse and avoid the high cost of failure by following tried and tested methods of attracting audiences. While it is not clear that these methods incorporate viewpoints and ideologies, they do form dominant conventions for audience consumption. For example, 'Stranger Things' made extensive use of genre to attract a target audience, as can be seen through what NEALE calls the intertextual relay, which included the trailer for the show demonstrating the inclusion of tropes from sci fi, horror, teen drama and adventure. Netflix’ use of data and algorithms 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. While this data is unlikely to be directly linked to national viewpoints and ideologies, it will almost certainly reflect these viewpoints. This may have influenced Netflix to commission a show that is so deeply nostalgic, perhaps reflecting the yearning in U.S. audiences for a time that it sees as simpler, especially regarding viewpoints and ideologies around gender norms and family values; however, given the slightly unconventional natures of the key characters producers may be encouraging audiences to reject the dominant hegemonic view at the time, its economic success then being dependent on challenging dominant viewpoints and ideologies.
ReplyDelete2020: LFTV dramas lack originality, no matter which country they are made in, they all use intertextuality in the same way.
ReplyDeleteST: Some argue that LFTVDs, such as Netflix’s 2016 sci-fi-horror programme ‘Stranger Things’, lack originality, particularly due to reliance on intertextual referencing. Theorists such as Harry Jenkins have suggested that the act of ‘textual poaching’ has had a largely positive effect on the modern media landscape, generating a new ‘collective intelligence’ outside formal education systems. One could argue that Stranger Things itself is a form of textual poaching, with writer/director duo The Duffer Brothers having based the TV series largely on their own interest of American Sci-Fi, Horror and Comedy films from the 80s. Taking inspiration from works such as ‘The Goonies’, or Spielberg’s ‘ET’ (highlighted in the bike riding scenes of episode 1) has allowed the pair to not only stimulate nostalgia, but also create a hydridic approach to serial narrative genre. Theorists such as Neale suggest that genre is not a fixed binary and evolves throughout time, with each new work altering the shape and audience’s understanding of what a certain genre is. ‘Stranger Things’ does not copy the films and TV programmes that have come before it, but instead add to the inevitable development of genre with a modern-day outlook on previous techniques. The versatility of its concept has allowed it to be marketed to much vaster audiences than typical LFTVDs, making it very suitable for streaming giant ‘Netflix’, which has become an increasingly mainstream platform. The show has been extremely economically successful for the conglomerate, becoming its 2nd most viewed TV series of all time. Therefore, saying that ‘Stranger Things’ lacks originality would be minimising the complexity of the integration of fact and fiction to create the Duffer Brothers’ fictional universe, where intertextuality has been purposefully and thoughtfully.
D83: However, in programmes such as the 2016 espionage thrilled ‘Deutschland 83’, intertextual referencing has been utilised in a far different form. Deutschland 83 is set in East and West Berlin during the heightening of tensions during the Cold War in the 1980s. Intertextuality is embedded in the use of costuming (Martin’s West German disguise of branded trainers, jeans and T-shirts), music (‘Sweet Dreams’ and ‘99 luftballoons’) and scenery to reflect the time period it is set in. A particularly significant example of intertextuality can also be seen in the programme’s opening, in which East German spy Leonora tiredly watches Ronald Regan’s ‘evil empire’ speech that condemns the Soviet Union on television. Whilst this use of intertextuality may not be particularly original, it is still essential to the narrative. Immediately presenting the audience with a recognisable historical figure (Regan), allows the audience to recognise the time period and character’s political alignment without using unsubtle referencing in dialogue, which is far less harmful than repeated intertextuality usage. Theorists such as Hesmondhalgh emphasise the industry view on the importance of risk aversion in the production of programming. In this case, using a recognisable genre (historical/spy thriller) with its conventions (time appropriate intertextual referencing) allowed the show to be economically viable. In examples of sober, complex narratives such as D83, the replicated use of intertextuality from other LFTVDs of its kind seem to be logical rather than lazy or unoriginal writing and production.