TASK 1: Mark the following paragraph.
1. ANSWER THE QUESTION [0,1,2,3,4,5]
Fluent, flowing and focused answer that repeats the language of the question.
2. ADDRESS CONTEXT [0,1,2,3,4,5]
Explicitly approaches the significance of context in a meaningful and perceptive way.
3. APPLY THEORY [0,1,2,3,4,5]
Uses a wide range of theorists. Characterises them clearly and correctly. Applies them thoughtfully.
4. USE EXAMPLES [0,1,2,3,4,5]
Makes thorough and judicious use of examples, either from the episode or wider industrial context.
5: ANALYSE EXAMPLES [0,1,2,3,4,5]
Takes the opportunity to analyse the significance of ALL examples, with reference to the question.
6: COMPARE [0,1,2,3,4,5]
Makes clear, perceptive and frequent comparisons between the texts.
0 - Not at all . 1 - Vaguely . 2 - Limited . 3 - Adequate . 4 - Good . 5 - Excellent
NB: To achieve a 5 in any area, use of terminology must also be excellent.
TASK 2: After identifying the weakness of the paragraph, add additional sentences/make small changes and then post your improved paragraph in the comments section below.
NB: PLEASE SHOW YOUR CHANGES IN BOLD.
Q. 2021: ‘Audiences and producers no longer find the concept of genre relevant to long form television drama.’ How far do you agree with this statement?
It is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
TASK 3: Now look carefully at this next paragraph. Using the mark scheme from above give a mark to the combination of both paragraphs.
The economic context around D83 are significantly different to ‘Stranger Things.’ It is a co-production between AMC Networks' SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme of the European Union. HESMONDALGH would likely see this joint production process as spreading the risk across a range of companies, but also mitigating the risk on some level by ensuring a U.S. audience for the series. Its use of a popular genre (spy thriller) also allowed producers to mitigate risk by ensuring an audience. This is clearly demonstrated by the intertextual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike ‘Stranger Things,’ there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist. It is likely that this subversions of the genre attracted backing from SundanceTV, given their reputation for quality, challenging programming. However, while it has gone on to achieve critical and financial success in Germany, its initial reception was frostier. **** HALL’s encoding/decoding model 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 but also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. The lived experience of German audiences, especially those who lived through the historical period being portrayed in the series may have led them to adopt an oppositional reading of the text, rejecting its subversion of genre expectations. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences.
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.
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.
It is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. Netflix has vast amounts of data on the viewing habits of their subscribers. This means that the choice to merge popular genres like science fiction and horror and present them in a nostalgic setting suggests a high likelihood for economic success. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience however Netflix also provided a relatively low budget of $6 million per episode meaning if stranger things didn't get the wide spread popularity that it ended up receiving it wouldn't be a huge loss for Netflix this suggests that although they were confident that the blending of genre and providing satisfactory levels of familiarity would reach a wide audience they did not believe in it fully and likely would rather play it safe for the first season. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience which was shown to be successful at getting stranger things a large audience as viewer statistics show an audience of 14 million withing the first 35 days of release showing an efficiency at getting subscribers to watch their show. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies which could be supported by the fact that stranger things season two was announced only a month and a half after the release of season one suggesting that they are able to see the fact that it had grown a loyal following furthermore given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
ReplyDeleteIt is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. Stranger things was one of Netflix’s originals first big hits, and that is partly down to the use of genre mashing, NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skillfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk, but Netflix did take a risk in the form of budget for the show, with each episode costing around $6 million for the first season, which may seem fairly insignificant now but for the time this was a big risk, as Netflix had never spent this money before on an original series which could have ended badly, but instead it is estimated that Stranger things earned Netflix over $8 billion, ‘Los Angeles Times’ throughout all series’. This proves that Stranger Things is most definitely a success both culturally and economically with the show making a massive financial return on investment. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience, by using different posters to present the show to different audiences, so if someone watches a lot of horror they will get a darker themed poster as someone who watches a lot of teen dramas. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
ReplyDeleteIt is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. STRANGER THINGS HAD 140.7 MILLION VIEWS IN THE FIRST 91 DAYS OF BEING RELEASED, PINPOINTING THAT STRANGER THINGS HAD A NICHE GENRE (INCLUDING SCIENCE FICTION, HORROR AND NOSTALGIC 1980’S THEMES) THIS IS UNDERREPRESENTED BY MAINSTREAM MEDIA. FROM THIS, IT HAS HELPED NETFLIX DIFFERENTIATE THEMSELVES FROM OTHER VIEWING PLATFORMS – NETFLIX IS THE ONLY PLACE YOU CAN WATCH STRANGER THINGS, AS IT IS A NETFLIX ORIGINAL. IT HELPS ATTRACT HIGHLY TARGETED CONTENT THAT APPEALS TO GENRE ENTHUSIASTS. IT HAS ALSO BEEN SAID BY GUARDIAN THAT THE RELEASE OF STRANGER THINGS REVERSED NETFLIX SUBSCRIBER DECLINE AND CONSUMERS WATCHED AROUND 1.35 BILLION HOURS OF SERIES 4 OF STRANGER THINGS. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant. NETFLIX CAN USE VIEWER DATA TO IDENTIFY TRENDS AND PREFERENCES. FROM THE SUCCESS OF STRANGER THINGS, IT VALIDATES THE DEMAND FOR NOSTALGIC AND SUPERNATURAL GENRES; THIS CAN INFLUENCE NETFLIX’S STRATEGY WHICH COULD INCREASE THEIR INVESTMENT IN SIMILAR SERIES LIKE THE UMBRELLA ACADEMY – WHICH SIGNIFICANTLY POINTS TO THE FACT THAT GENRE IS EXTREMELY RELEVANT IN LFTVD.
ReplyDelete
ReplyDeleteIt is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant. STRANGER THINGS CAME OUT TO BE VERY SUCCESSFUL JUST LIKE THE PRODUCERS PREDICTED WHEN THEY GAVE EACH EPISODE A $6 MILLION BUDGET JUST FOR THE FIRST SEASON. STRANGER THINGS THEN WENT ON TO BE ONE OF THE MOST SUCCESSFUL SERIES ON NETFLIX WITH OVER 1,350 MILLION HOURS WATCHED OVERALL. NETFLIX MADE MONEY THROUGH THE POPULARITY OF THE SHOW THROUGH THEIR SUBSCRIBER REVENUE. THE SHOW ATTRACTED MILLIONS OF NEW SUBSCRIBERS, AS IT BECAME A FLAGSHIP FOR NETFLIX, IT ENCOURAGED NEW USERS TO EITHER SUBSCRIBE OR CARRY ON WITH THEIR CURRENT SUBSCRIPTIONS. NETFLIX THEN LICENSED STRANGER THINGS TO OTHER BRANDS TO START MERCHANDISING AND HAD MANY COLLABORATIONS AND PARTNERSHIPS WITH POPULAR BRANDS LIKE LEGO, NIKE, COCA-COLA AND FUNKO TO RELEASE EXLUSIVE MERCH.
Alyssa
ReplyDeleteIt is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. NEALE ARGUES AUDIENCES SEARCH FOR EASILY IDENTIFIABLE FEATURES, CONTIBUTING TO THE IDENTITY OF A TV SHOW THROUGH REPETITION OR DIFFERENCE.
NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skillfully moves between adventure, teen drama, Science Fiction, comedy, action and horror.
The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs.
Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia (TO A LARGE AUDIENCE OF THOSE 35-45 UNDERTSANDING THE POP CULTURE, FASHION, MUSIC ETC.) but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoids risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant. HESMONDALGH FOLLOWS AN IDEA OF COPYRIGHT LAWS IN PROTECTION OF TV SHOWS BEING RISK AVERSE, THIS ALLOWS NETFLIX AND STRANGER THINGS TO RECIEVE THEIR IDEA OF CORRECT PROFITS FROM THE PRODUCTION. THIS IS DONE THROUGH STREAMING PLATFORMS AND MERCHANDISING. IN 2022 NETFLIX REPORTEDLY GAINED 2.4 MILLION SUBSCRIBERS WITHIN THREE MONTHS DUE TO THE RELEASE OF STRANGER THINGS AND DAHMER, THIS EMPHASISES THE POWERFUL IDENTITY OF THIS SHOW BEING SEEN AS HIGH QUALITY AND WATCHABLE AND THE EXCLUSIVITY OF IT ONLY BEING ABLE TO BE STREAMED ON ONE PLATFORM, NETLIX ITSELF, SHOWS THE GENRE OF AN INTENSE, SCI FI GENRE IS RELAVANT TO AUDIENCES. MERCHANDISING ADDS TO THE INTERTEXTUAL RELAY OF NEALE AS A METHOD OF MARKETING, ALSO LINKING TO THE COPYRIGHT LAWS OF HESMONDALGH. MERCHANDISE COMES IN MANY FORMS SUCH AS CLOTHES AND BOOKS (INCLUDING THROUGH COLLABORATION, PUSHING THE AUDIENCE WITH BRANDS SUCH AS LEGO AND BURGER KING), USUALLY SITTING AROUND THE £5-£20 MARK IN PRICE, THIS COMBINED WITH AN AUDIENCE IN THE MILLIONS (SERIES 1 SAW A VIEWING NUMBER OF 14.07MILLION WITHIN ITS FIRST 35 DAYS IN THE US) AND A BUILDABLE AND NOSTALGIC 80S SCI FI THEME, BUILDS PROFIT FOR THE PRODUCERS OF STRANGER THINGS, EMPHASISING THE LINKS OF ECONOMIC CONTEXTS TO GENRE TO A STRONG EXTENT.
AS OF 2019, THE RELEASE OF THE THIRD SERIES, STRANGER THINGS HAD A PROFIT OF $378 MILLION
It is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. STRANGER THINGS HAS ALLOWED NETFLIX TO MAINTAIN ITS BRAND IDENETITY BY ENSURING IT IS ONLY AVAILABLE ON NETFLIX. HESMONDHALGH WOULD ARGUE THIS CREATES A SENSE OF ARTIFICIAL SCARCITY AS VIEWERS WOULD FEEL THEY CAN ONLY ACCESS AND VIEW THE SHOW ON NETFLIX WHICH INCREASES ITS NUMBER OF SUBSCRIBERS. FOR EXAMPLE, AFTER THE RELEASE OF SEASON 3 ITS INTERNATIONAL SUBSCRIBER BASE GREW BY 6.26 MILLION TO 97.71. THIS FIANANCIAL SUCCESS HAS ALLOWED NETFLIX TO INCREASE ITS BUDGET FOR THE SHOW. FOR EXAMPLE SEASON 1 OF STRANGER THINGS COST NETFLIX 6 MILLION DOLLARS WHILE FOR SEASON 4 THE BUDGET WAS 30 MILLION DOLLARS PER AN EPISODE. THE REASON FOR ITS FIANANCIAL SUCCESS COULD BE DUE TO ITS HYBRID GENRE BLENDING MYSTERY AND SCI-FI. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
ReplyDeleteThe relevance of genre in relation to longform TV dramas is largely a matter of marketing and economic context. Netflix is a flagship product for Netflix’s enterprise and thus needs to be protected and designed to reduce the risk of failure and increase its identification with the audience’s previously watched content within certain genres. The producers have used a range of techniques to reduce the risk of this creative industry product such as stars like Winona Ryder from 1990’s Edward Scissorhands and 1997’s Alien Resurrection; intertextual references and homages to popular films and their directors (Spielberg and E.T for example); the monopolization on 1980s nostalgia and conventions of many popular genres; and the artificial scarcity of the show exclusively releasing to Netflix’s own streaming service. Netflix also use a deep well of gathered user data to reduce economic risk, tailoring recommendations to their audience based on the genres they actively seek out, significantly tying both genre and economic success by recommending the right content to the right target audience, linking to Hesmondhalgh’s ideas of surveillance increasing over audiences now that digital technology has become more widespread. We can see that this risk reduction has been successful due to the budget per episode of season 1 being $6 million, and the revenue from Blu-ray and disc sales alone being valued at $21 million. This is not to mention the subscription cost of Netflix, which saw a spike in viewers in 2016 following Stranger Things’ release and also brought about a price hike from $10 to $11 over that very year, a probable result of the confidence felt by Netflix higher ups in the continued consumption of shows like Stranger Things at a higher cost. Another avenue of economic context that relates to genre can be applied to Neale’s theory of genre hybridity. Stranger Things identifies with many genre conventions from teen drama to comedy to action and horror during its screen time, maximizing both the audience that likes the show’s conventions, as well as progressing genre evolution as multiple genres share a ‘melting pot’ of features in the show, a process that creates the refreshing and enjoying effect of 80s nostalgia that popularized the show. We can see that this maximization was successful due to the online ratings on Rotten Tomatoes of the show being 91% and 90% from critics and audiences alike. The long-form nature of dramas like these plays well into this experimentation with genre and allows for genre conventions to surpass the show itself and branch into marketing and merchandising that is more likely to be influential and successful. The recognizable characters and attachments built to them through the show as well as the homogenization of genres create for interesting and unique marketing, not to mention merchandise from props, a trend in sci-fi and fantasy fiction, to make-up and apparel, a more drama/slice-of-life product. Overall, Neil’s genre theory points out how the economic success of stranger things and its viewership base’s boom relates to the multiple genres being spliced together in the show, proving yet again that genre plays an important role in long-form television dramas, especially in context to economic contexts as marketing and merchandising identifies with genre-specific trends to maximize audience consumption.
ReplyDelete- Zackery
Shira
ReplyDeleteIt is almost impossible to discuss the relevance of genre without considering economic context, it can provide us with great insights. NETFLIX HAD AN INCREASE IN FINANCIAL SUCCESS WHEN “STRANGER THINGS” CAME OUT BECAUSE IT WAS ONLY ELIGABLE TO BE WATCHED ON NETFLIX SO THERE WAS AN INCREASE IN SUBSCRIBERS. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. HESMONDHALGH SAYS THAT THAT PRODUCTION COMPANIES ARE NOT AT RISK FOR FAILING BECAUSE THEY ARE FOLLOWING A METHOD THAT ATTRACTS AUDIENCE, SINCE THE SHOW IS ONLY ON NETFLIX THEY ARE MANAGING TO PROTECT THEIR INVESTMENT ALL AROUND THE WORLD AND COPYRIGHT LAW PREVENTS OTHER STREAMING SERVICES TO SHOW IT SO, IF THEY WANT TO WATCH “STRANGER THING” THEY WOULD NEED TO SUBSCRIBE TO NETFLIX; THEY HAVE THEIR METHODS OF ATTRACTING AUDEINCE EVEN IF IT IS NOT CLEAR IFF THEY INCORPORATE VIEWPOINTS AND IDEOLOGIES, THEY FORM DOMINANT CONVENTIONS FOR AUDIENCE CONSUMPTION, “STRANGER THING” USED GENRE FOR A BIG PART OF ATTRACTING THEIR TARGET AUDEINCE WHICH NEALE POINTS OUT TO BE INTERTEXTUAL RELAY WHICH MEANS THEY SHOWED A CLEAR VISION OF SCI-FI, TEEN DRAMA, ADVENTURE, COMEDY, ACTION AND HORROR IN THEIR TRAILERS AND TEASER. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, THIS MAKES A LINK TO HESMONDALGH, it allows us to look at ways in which “Stranger things” is desgined to appeal to a broad audeince AND NOT JUST BY USING THE GENRES. PRODUCERS USED DIFFERENT STRATEGIES LIKE HAVING WELL KNOWN ACTORS LIKE WINONA RYDER, the intertextual refrences to popular films and filmmakers (e.g. E.T.), 1980s nostalgia AND AVOIDING SIGNIFICANT RISKS BY USING A POPULAR RANGE OF GENRES. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
It is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. Netflix has THE ABILITY TO ACCESS DATA ON THE VIEWERSHIP OF ALL NETFLIX SHOWS, THIS MEANS THAT THEY HAVE THE ABILITY TO MERGE SPECIFIC GENRES LIKE SCIENCE FICTION AND HORROR TO CONTINUE THE TREND OF HIGH QUALITY ENTERTAINMENT THAT STAYS WITHIN THE MOST POPULAR GENRES. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. HOWEVER NETFLIX DID TAKE A LARGE RISK BY MAKING THE FIRST EPISODE BUDGET £6 MILLION, WHICH IN THE LONG RUN DID CREATE SUCCESSN AND HAS MADE £387 MILLION AS OF 2019 (THREE YEARS AFTER THE INITIAL RELEASE OF SEASON 1) Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies, THIS ALSO EMPHASISES HESMONDHALGH’S IDEA THAT COMPANIES MAKE FALSE SCARCITY AS THE MEDIA IS ONLY ACCESSIBLE VIA NETFLIX ITSELF. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
ReplyDeleteWHEN LOOKING AT THE RELEVANCE OF GENRE, ECONOMIC CONTEXT SHOULD BE CONSIDERED. ‘STRANGER THINGS’ IS A KEY COMPONENT OF ‘NETFLIX’S’ SUCCESS, AS IT BEGAN TO BUILD A STRONG BRAND IDENTITY AND PROPEL THE INDUSTRY OF ‘ORIGINAL SERIES’. Neale points out the importance of genre hybridity in the evolutions of genre. NEALE ARGUES THAT GENRE IS A PROCESS, WHICH AUDIENCES AND PRODUCERS ARE ACTIVELY ENGAGED WITH. ‘STRANGER THINGS’ USES A RANGE OF GENRES TO APPEAL TO ENTICE A RANGE OF DEMOGRAPHICS, FROM SCIENCE FICTION TO HORROR TO DRAMA, WHICH PRODUCERS WILL CAREFULLY THINK ABOUT WHEN MAKING THE SERIES. ‘STRANGER THINGS’ IS RELIANT ON THEIR GENRE CONVENTIONS TO STAND OUT AGAINST OTHER LFTVDS, BY MAINTAINING CERTAIN CONVENTIONS AND BREAKING OTHERS. NEALE ALSO SUGGESTS THAT GENRE CHANGES IN OTHER PRODUCTS THAT REFER TO LFTVDS. FOR EXAMPLE, FEEDBACK AND REVIEWS FROM THE AUDIENCE WILL CHANGE THE WAY PRODUCERS PROGRESS THE SERIES, WITH ‘STRANGER THINGS’ HAVING 1.4M IMDB RATINGS. THEREFORE, AUDIENCES AND PRODUCERS ARE A VITAL ASPECT OF GENRE WITHIN LFTVDS BECAUSE THEY ALLOW THE PRODUCTS TO DEVELOP FURTHER.
ReplyDeleteIt is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. NETFLIX CAN DO THIS EFFECTIVELY AS STRANGER THINGS IS NOT ONLY A WELL-KNOWN SHOW THAT LOTS OF PEOPLE WOULD BE INTERESTED IN WATCHING, BUT IT IS ALSO A “NETFLIX ORIGINAL SERIES” MAKING IT EXCLUSIVELY AVAILABLE FOR NETFLIX SUBSCRIBERS. THIS CLEVER MARKETING WOULD MAKE NETFLIX A VERY DESIRABABLE STREAMING SERVICE TO BE A PART OF. ONE OF THE THINGS THAT MAKES STRANGER THINGS SUCH A POPULAR AND DESIRABLE SHOW, IS ITS WIDE VARIETY OF CONTENT, ESPECIALLY WHEN IT COMES TO DIFFERENT GENRES OF THE SHOW. Neale points out the importance of genre hybridity in the evolutions of genre, and part of the pleasure of ‘Stranger Things’ comes from the way that it skillfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres. HOWEVER, EVEN BEFORE THE RELEASE OF STRANGER THINGS, THERE WAS OBVIOUS EMPHASIS ON THE WIDE RANGE OF GENRES THROUGH THE USE OF TEASERS AND TRAILERS WHICH OFTEN WOULD INCLUDE CLIPS THAT COULD HIGHLIGHT EACH GENRE EFFECTIVELY. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres. NETFLIX TOOK A RISK IN FILMING AND THEN RELEASING ALL OF SEASON 1 AT ONCE, RATHER THAN DOING WHAT MOST LFTVDs WOULD DO, AND RELEASE A PILOT EPISODE TO GIVE PEOPLE A SENSE OF WHAT IT WOULD BE LIKE, THEN IF IT WAS TAKEN BADLY, THEY WOULD STOP THE PRODUCTION TO SAVE MONEY. NETFLIX AVOIDS THIS RISK OF MONEY LOSS BY BUDGETING EACH EPISODE OF SEASON 1 TO JUST $6 MILLION EACH, AND WITH AN ANNUAL REVENUE OF $9.8 BILLION. NETFLIX WOULDN’T MAKE A SIGNIFICANT LOSS IF STRANGER THINGS HADN’T BEEN RECIEVED WELL. Netflix also avoids risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
ReplyDeleteIt is almost impossible to discuss the relevance of genre without considering its economic and cultural significance. Both Stranger Things and other Long Form TV Dramas (LFTVDs) like Breaking Bad exemplify how genre functions as a tool for audience engagement and commercial success. Stranger Things, as a flagship product for Netflix, represents a milestone in its evolution as a producer of high-quality, genre-driven content. The series thrives on genre hybridity, seamlessly blending adventure, teen drama, science fiction, comedy, action, and horror. This hybridity, as Neale suggests, not only revitalizes established genres but also reflects the growing expectation among LFTVD audiences for creative experimentation. Similarly, Breaking Bad experiments with genre by combining crime drama with dark comedy and elements of the Western, which broadens its appeal and challenges traditional genre conventions. The role of external factors in shaping genre codes, which Neale terms the "intertextual relay," is also critical in both texts. Stranger Things emphasizes its genre hybridity through marketing campaigns, with trailers and teasers highlighting its nostalgic 1980s influences, reminiscent of works by Spielberg and Stephen King. Reviews on platforms like Rotten Tomatoes reinforce this, pointing out its blend of genres. Likewise, Breaking Bad leverages intertextuality by drawing on archetypes of anti-heroes from crime fiction and the Western, which is reflected in its promotional material and critical discourse. In both cases, the intertextual relay reinforces genre expectations while signaling innovation, ensuring audience engagement. Hesmondhalgh’s theory of risk minimization is particularly relevant in comparing the strategies used by the producers of Stranger Things and Breaking Bad. Stranger Things mitigates risk through its nostalgic appeal, referencing popular films like E.T. and casting well-known actors such as Winona Ryder, ensuring familiarity for audiences. Similarly, Breaking Bad builds on Vince Gilligan’s established reputation as a writer for The X-Files and offers a familiar yet subversive crime narrative, appealing to fans of the genre. Additionally, Netflix’s use of data analytics to tailor Stranger Things to audience preferences aligns with Hesmondhalgh’s assertion that digital technologies enable producers to monitor and cater to audience demand. In contrast, Breaking Bad, developed before the dominance of streaming platforms, relied more on traditional audience testing and critical acclaim to build its reputation. Both texts reveal the enduring relevance of genre to producers and audiences in LFTVD. Stranger Things uses genre hybridity and nostalgia to innovate while reducing financial risk, reflecting Netflix’s data-driven approach. In comparison, Breaking Bad, though rooted in more traditional production models, achieves similar outcomes by blending familiar genre elements with bold, character-driven storytelling. Together, these examples demonstrate how LFTVDs leverage genre as both a creative and economic strategy, ensuring their relevance in an evolving media landscape.
ReplyDeleteIt is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. With the first episode having a budget of $6 million and each actor earning about $20,000 for each episode, this shows that at the start of Stranger Things they were not expecting it to be such a huge success. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skillfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. This meant that it appealed to a wide audience as it had over 14 million views in the first month of its release, viewers being between the ages of 18-49. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk, with majority of viewers being between 18 and 49 years old, they will recognise the 80s theme and feel nostalgic of that era. Netflix also avoids risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
ReplyDeleteIt is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. THE FIRST SEASON HAD A BUDGET OF 6 MILLION PER EPISODE.
ReplyDeleteNEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skillfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. IT TRANSCENDS CULTURAL BOUNDARIES AND RESONATES WITH AUDIENCES ACROSS THE GLOBE. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasizing the variety of generic influences. EMPHASIS ON THE WIDE RANGE OF GENRES THROUGH THE USE OF TEASERS AND TRAILERS WHICH OFTEN WOULD INCLUDE CLIPS THAT COULD HIGHLIGHT EACH GENRE It is clear then that genre is extremely relevant to both audience and producers of LFTVDs.
Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoids risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies.
Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
The economic context around D83 are significantly different to ‘Stranger Things.’ It is a co-production between AMC Networks' SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme of the European Union. HESMONDALGH would likely see this joint production process as spreading the risk across a range of companies, but also mitigating the risk on some level by ensuring a U.S. audience for the series. Its use of a popular genre (spy thriller) also allowed producers to mitigate risk by ensuring an audience, THIS IS BACKED UP BY NEALE’S THEORY AS SPY THRILLERS ARE A GENRE WHICH HAS BEEN ONE OF THE MOST POPULAR GENRES FOR MULTIPLE GENERATIONS. This is clearly demonstrated by the intertextual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike ‘Stranger Things,’ there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist. It is likely that this subversions of the genre attracted backing from SundanceTV, given their reputation for quality, challenging programming. However, while it has gone on to achieve critical and financial success in Germany AND WORLDWIDE, WITH IT HAVING A 95% SCORE ON ROTTEN TOMATOES AND EVEN WINNING AWARDS FOR EXAMPLE THE INTERNATIONAL EMMY, its initial reception was frostier.THIS COULD BE DUE TO HOW THE AUDIENCE WHO LIVED IN THE TIME PERIOD PERCIVED THE SHOW WHICH LINKS TO HALL’s encoding/decoding model AND HOW IT LEADS TO CERTAIN PEOPLE MAKING AN UNDERSTANDING FROM THE SHOW AND HOW 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 but also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. The lived experience of German audiences, especially those who lived through the historical period being portrayed in the series may have led them to adopt an oppositional reading of the text, rejecting its subversion of genre expectations. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences.
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It is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. It is arguable that Stranger Things had a very niche hybrid genre (supernatural drama with nostalgic themes from the 1980s), which brought about the title of the “third most watched season of Netflix”, with 14.07 million adults viewing the first eight episodes within the first 35 days, lending itself to NEALE’s theory of the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Furthermore, Stranger Things has ensured the brand identity of Netflix, by allowing the show to only be streamed on their platform, which adhered to Hesmondhalgh's theory of risk aversion for Netflix as the profit (which totals at a grand sum of 27.4 million dollars) is only being harvested by Netflix – improving their subscriber base as individuals are eager to watch this unusual genre blend. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
The economic context around D83 is significantly different to ‘Stranger Things.’ It is a co-production between AMC Networks' SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme of the European Union. HESMONDALGH would likely see this joint production process as spreading the risk across a range of companies WHILST ALSO USEING A LOWER BUGET OF $1 MILLION PER EPISODE (MUCH LESS THAN STRANGER THINGS) FURTHER REDUCES THE RISK. THE SPREADING THE COST OF D83 ASSISTS IN mitigating the risk on some level by ensuring a U.S. audience for the series THROUGH ITS PLACEMENT ON POPULAR US TELEVISION PROVIDERS. Its use of a popular genre (spy thriller) also allowed producers to mitigate risk by ensuring an audience. This is clearly demonstrated by the intertextual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike ‘Stranger Things,’ there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist THIS MAKES THE SHOW FEEL FRESH AS NEAL WOULD LIKELY SEE THIS AS A WAY TO RENEW THE ECCONOMY OF THE SPY THRILLER GENRE WHISLT ALSO CREATING DUISCUSSION AROUND THE SHOWS UNIQUE PERSPECTIVE. It is likely that this subversions of the genre attracted backing from SundanceTV, given their reputation for quality, challenging programming. However, while it has gone on to achieve critical and financial success in Germany, its initial reception was frostier. THIS MAY BE DUE TO A FEELING OF DISCOMFORT AND UNCERTAINTY AROUND THE USE OF GENRE SUBVERSION. WITH THAT IN MIND HALL’s encoding/decoding model draws attention to the importance of identifying the ways in which elements such as genre conventions are used by producers to construct specific meanings and effects but also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. The lived experience of German audiences, especially those who lived through the historical period being portrayed in the series may have led them to adopt an oppositional reading of the text, rejecting its subversion of genre expectations. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences.
ReplyDeleteThe economic context around D83 are significantly different to ‘Stranger Things.’ It is a co-production between AMC Networks' SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme of the European Union.
ReplyDeleteHESMONDALGH would likely see this joint production process as spreading the risk across a range of companies, WHILST ALSO USING A LOWER BUDGET OF $1 MILLION PER EPISODE WHICH IS LESS THAN WHAT STRANGER THINGS HAD. But also mitigating the risk on some level by ensuring a U.S. audience for the series. Its use of a popular genre (spy thriller) also allowed producers to mitigate risk by ensuring an audience. This is clearly demonstrated by the intertextual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike ‘Stranger Things,’ there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist. It is likely that this subversions of the genre attracted backing from SundanceTV, given their reputation for quality, challenging programming. However, while it has gone on to achieve critical and financial success in Germany AND THE WORLD. IT HAS A 95% SCORE ON ROTTEN TOMATOES AND EVEN WINNING AWARDS, its initial reception was frostier, AND THIS COULD BE BECAUSE OF THE WAY THE AUDIENCE WHO LIVED THROUGH THE TIME PERIOD DS83 WAS SET PERCIEVED THE SHOW.
HALL’s encoding/decoding model 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 but also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. The lived experience of German audiences, especially those who lived through the historical period being portrayed in the series may have led them to adopt an oppositional reading of the text, rejecting its subversion of genre expectations. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences.
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DeleteIt is almost impossible to discuss the relevance of genre without considering economic contexts. FOR EXAMPLE, BEFORE 2016 MOST OF NETLIX'S PROGRAMMING WAS LOW BUDGET DOCUMENTARIES AND A COUPLE FILMS PER YEAR BU AFTER ‘Stranger Things’ became a flagship product for Netflix (becoming the third highest watched Netflix show at the time within a month WITH 64 MILLION HOUSEHOLD WATCHING IT), its release marked an important milestone in Netflix’s progression as a company with the reputation for high quality entertainment, a core element of its brand identity. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on METACRITIC highlighting the blend of genres (WITH THE GENRE CHANGE IN SEASON 4) and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Meanwhile, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
ReplyDeletemary
ReplyDeleteThe economic context around D83 is significantly different to ‘Stranger Things.’ It is a co-production between AMC Networks' SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme of the European Union. HESMONDALGH would likely see this joint production process as spreading the risk across a range of companies, but also mitigating the risk on some level by ensuring a U.S. audience for the series. NEALE’S THEORY IS THAT GENRE EVOLVES BUT STILL REMAINS RECOGNISABLE AND THEREFORE GUARENTEE AN AUDIENCE WITH THE SERIES DISPLAYING CLEAR CODES AND CONVENTIONS OF A SPY THRILLER. This is clearly demonstrated by the intertextual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike ‘Stranger Things,’ there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist. It is likely that these subversions of the genre attracted backing from SundanceTV, given their reputation for quality, challenging programming. However, while it has gone on to achieve critical and financial success in Germany, its initial reception was frostier. THIS LACK OF POPULARITY IN GERMANY SHOWS IT IS NOT FACTUALLY CORRECT, AS MANY BELIEVE ITS AN OVERLY SYMPATHETIC DEPICTION OF EAT GERMANY AGENTS, EVEN THOUGH THEY WERE THE CAUSE FOR MANY DEATHS AND IMPRISONMENTS. WE COULD INFER THAT, TO APPEAL TO AUDIENCES, THEY HAVE GONE OFF OF STEREOTYPES AND CONVENTIONS RECOGNISABLE FOR PEOPLE LIVING IN THE 80S, USING HALL’s THEORY OF THE encoding/decoding model 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 but also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. The lived experience of German audiences, especially those who lived through the historical period being portrayed in the series may have led them to adopt an oppositional reading of the text, rejecting its subversion of genre expectations. AS OF 2016, DEUTSCHLAND 83 BECAME THE HIGHEST RATED FOREIGN LANGUAGE DRAMA IN THE UK WITH OVER 1 MILLION VIEWS AFTER THE RELEASE OF THE FIRST EPISODE. BY DOING SO WELL IN THE UK COULD SUGGEST THEIR LACK OF KNOWLEDGE ON WHAT EAT GERMANY WAS REALLY LIKE, THEREFORE SHOWING THAT THE SHOW WOULD ONLY DO PARTICLARLY WELL IN PLACES THAT HAVEN’T EXPERIENCED WHAT LIFE IN GERMANY WAS LIKE IN THE 80S. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences.
It is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. IN 2023, NETFLIX HAD A TOTAL OF 238.3 MILLION SUBSCRIBERS WORLDWIDE WITH ITS BIGGEST MARKET SITUATED IN NORTH AMERICA. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.
ReplyDeleteThe economic context around D83 is significantly different to ‘Stranger Things.’ It is a co-production between AMC Networks' SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme of the European Union. HESMONDALGH would likely see this joint production process as spreading the risk across a range of companies but also mitigating the risk on some level by ensuring a U.S. audience for the series. Its use of a popular genre (spy thriller) also allowed producers to mitigate risk by ensuring an audience. This is clearly demonstrated by the intertextual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike ‘Stranger Things,’ there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist. It is likely that these subversions of the genre attracted backing from SundanceTV, given their reputation for quality, challenging programming. However, while it has gone on to achieve critical and financial success in Germany, its initial reception was frostier. THE FIRST EPISODE GATHERED AROUND 3.2 MILLION VIEWERS, BUT THE NUMBER PLUNGED IN THE FOLLOWING WEEKS WITH GERMANY’S HIGHEST SELLING NEWSPAPER, BLID, CALLING IT ‘THE FLOP OF THE YEAR’. HALL’s encoding/decoding model 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 but also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. The lived experience of German audiences, especially those who lived through the historical period being portrayed in the series may have led them to adopt an oppositional reading of the text, rejecting its subversion of genre expectations. BY THE TIME THE LAST EPISODE WAS BROADCASTED, THE SHOW HAD SHED HALF OF ITS INITIAL AUDIENCE, WITH ONLY 1.72 MILLION VIEWERS. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences.
ReplyDeleteLarisa
ReplyDeleteThe economic contexts around D83 are significantly different to ‘Stranger Things.’ It is a co-production between AMC Networks' SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme of the European Union. HESMONDALGH would likely see this joint production process as spreading the risk across a range of companies, but also mitigating the risk on some level by ensuring a U.S. audience for the series, which was useful as the production didn’t immediately appeal to the German audience, perhaps because of its dark past which is presented in this espionage thriller. This attempt at risk aversion was successful, as, after its debut in the United States, Deutschland 83 was awarded with a 2015 Peabody Award, which increased the total amount of viewers to 2.5 million, as the unique genre appealed to audiences. Its use of a popular genre (spy thriller) also allowed producers to mitigate risk by ensuring an audience. This is clearly demonstrated by the intertextual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike ‘Stranger Things,’ there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist. It is likely that this subversion of the genre attracted backing from SundanceTV, given their reputation for quality, challenging programming. However, while it has gone on to achieve critical and financial success in Germany (attaining a 2016 German Television Award and total domestic sales of $218,723), its initial reception was frostier as a result of the social divisions in Germany’s past, which are explored in this production. HALL’s encoding/decoding model 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 but also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. The lived experience of German audiences, especially those who lived through the historical period being portrayed in the series may have led them to adopt an oppositional reading of the text, rejecting its subversion of genre expectations. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences.
The economic context around D83 are significantly different to ‘Stranger Things.’ It is a co-production between AMC Networks' SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme of the European Union WITH A RELATIVELY LOW BUDGET OF $1 MILLION PER EPISODE. HESMONDALGH would likely see this joint production process as spreading the risk across a range of companies but also mitigating the risk on some level by ensuring a U.S. audience for the series. Its use of a popular genre (spy thriller) also allowed producers to mitigate risk by ensuring an audience. This is clearly demonstrated by the intertextual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike ‘Stranger Things,’ there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist. It is likely that this subversion of the genre attracted backing from SundanceTV, given their reputation for quality, challenging programming. However, while it has gone on to achieve critical and financial success in Germany, its initial reception was frostier. USING HALL’s encoding/decoding model (WHICH DRAWS ATTENTION TO HOW PRODUCERS CONSTRUCT MEANINGS THROUGH CODES AND CONVENTIONS THAT AUDIENCES CAN ACCEPT, REJECT OR MODIFY BASED ON THEIR OWN LIVED EXPERIENCES) WE CAN DEDUCETHIS IS MAY BE THANKS TO AN OPPOSITIONAL READING OF THE TEXT FROM THE GERMAN AUDIENCES WHO LIVED THROUGH THE HISTORICAL PERIOD THIS IS BASED IN LEADING TO A REJECTION OF THE SUBVERSION OF GENRE EXPECTATIONS. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences.
ReplyDeleteAlyssa 1
ReplyDeleteGENRE PLAYS A SIGNIFICANT PART OF A PRODUCTIONS ECONOMIC CONTEXT, HOWEVER PRESENTS ITSELF IN VARYING WAYS, AS SEEN THROUGH THE ECONOMIC CONTEXT OF D83 BEING SIGNIFICANTLY DIFFERENT TO STRANGER THINGS. It is a co-production between AMC Networks' SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme of the European Union. THE INTERNATIONAL DISTRIBUTION OF KINO LOBER ALLOWS THE GERMAN SPEAKING DRAMA, WITH A NOSTALGIC ATMOSPHERE LESS RELEVANT TO THE GLOBAL AUDIENCE, TO CREATE FURTHER AUDIENCES THROUGH THE GENRE OF THE SHOW. HOWEVER, AMERICAN HEGEMONY EXISTS TO A STRONG EXTENT SO GENRE BECOMES A SIGNIFICANT FACTOR IN KEEPING THIS AUDIENCE WATCHING. Hesmondhalgh would likely see this joint production process as spreading the risk across a range of companies, but also mitigating the risk on some level by ensuring a U.S. audience for the series. SPECIFICALLY, AS A CO-PRODUCTION WITH AN AMERICAN PRODUCTION COMPANY. TO FORM A MORE RISK AVERSE NATURE, D83 ALREADY WOULD BE AT LESS OF AN ECONOMIC RISK DUE TO THEIR BUDGET. THE 16 EPISODES WERE GIVEN AN OVERALL £35M, MAKING EACH EPSIODE’S BUDGET AROUND £2M, CONTRASTING TO STRANGER THINGS $6M. Its use of a popular genre (spy thriller) also allowed producers to mitigate risk by ensuring an audience. This is clearly demonstrated by the intertextual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike ‘Stranger Things,’ there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist, AGAINST THE TYPICAL WESTERN WORLD IDEALS OF BEING PROTECTED BY NATO AND AGAINST COMMUNIST IDEOLOGY OF THE PAST. It is likely that this subversion of the genre attracted backing from SundanceTV, given their reputation for quality, challenging programming.
Alyssa 2
ReplyDeleteHowever, while it has gone on to achieve critical and financial success in Germany, its initial reception was frostier. PHILIP OLTERMANN AT THE GUARDIAN WROTE THAT AN EAST GERMAN PERSPECTIVE OF THE COLD WAR IS IMPORTANT, HOWEVER SAID THE SHOW BACKTRACKS INTO STEROTYPES, INSTEAD OF TAKING ADVANTAGE OF ITS “RADICAL PREMISE”, LEADING TO EAST OFFICERS BEING PERCIEVED AS “CRUEL IDEOLOGUES”. THIS MAY HAVE CAUSED AN OPPOSITIONAL READING TO THE ENTIRE SERIES, ESPECIALLY AS D83 BEGAN TO RECIEVE AWARDS FOR STORYTELLING, MAKING IT MORE MARKETABLE TOWARDS OTHERS. THIS CAUSED A PUSH TO SUCCESS THROUGH INTERNATIONAL AUDIENCES, RATHER THAN GERMANS, DESPITE HOW THIS BEGINS TO CREATE AN AUDIENCE WITH LESS PERSONAL LINKS TO THE STORY. Hall’s encoding/decoding model, FOR FORMING MEANING WITHIN TV THROUGH THEIR ACTIVE AUDIENCES, 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 but also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. The lived experience of German audiences, especially those who lived through the historical period being portrayed in the series may have led them to adopt an oppositional reading of the text, rejecting its subversion of genre expectations. THE SUCCESS OF D83 OVERSEAS WAS PROVED THROUGH THE 2.5MILLION BRITISH VIEWERS, MAKING IT THE MOST POPULAR FOREIGN LANGUAGE DRAMA ON BRITISH TELEVISION AS OF JANUARY 2016. HOWEVER, THIS WAS ONLY MADE POSSIBLE BY THE COLLABORATION NATURE OF THE DRAMA AS A LONDON BASED WORKER SENT AN ENGLISH VERSION OF THE SCRIPT TO SUNDANCE TV, SAYING IF THE SCRIPT HAD BEEN KEPT IN GERMAN THE SHOW WOULD HAVE FOLLOWED A COMPLETLEY DIFFERENT COURSE. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences.
Shira
ReplyDeleteHowever, the economic context around D83 is significantly different to “stranger things.” It is a co-production between AMC Networks’ SundanceTV and RTL Television and accessed some of its funding via German Federal Film Fund (DFFF) and the Media Programme if the European Union. IT COMES FROM MULTIPLE LAYERS OFFUNDIN STREAMSWHICH HESMONDALGH WOULD SAY THAT IT IS MUCH SAFER THAT WAY, THE RISK AVERSION IS SPREAD OUT ACROSS DIFFERENT COUNTRIES MEANING IT IS LES LIKELY TO FAIL; the risk is across a range of companies, but also mitigating the risk on some level by ensuring a U.S. audience for the series. Its use of popular genre (spy thriller) also allowed producers to mitigate risk by ensuring an audience. THE FACT THAT THE GENRE IS RECONGNISABLE, IT GARENTEES AN AUDIENCE WITH THE SERIES DISPLAYONG CLEAR CODES AND CONVENTIONS OF A SPY THRILLER THIS LINKS TO NEALE’S THEORY OF GENRE. This is clearly demonstrated by the intersexual relay in the marketing for the programme; trailers focused heavily on the espionage angle and even suggested that the show would be far more action packed than its first episode implies. Unlike “Stranger Things”, there is no use of genre hybridity, but it does significantly subvert expectations by featuring a Communist protagonist in conflict with a NATO antagonist. It is likely that these subversions of the genre attracted backing from Sundance TV, given their reputation for quality, challenging programming. However, while it has gone on to achieve critical and financial success in Germany, its initial reception was frostier. D83 WAS NOT VERY SUCCESSFUL IN GEMANY AT THE TIME IT CAME OUT AND THERE IS STILL ALOT OF CONTROVERSY AROUND IT, MOST OF ITS POPULARITY CAME FROM THE FACT IT WAS AIRED IN AMERICA AS WELL, IT WASNT SUCCESSFUL BECAUSE GERMAN PEOPLE DONT WANT TO RELIVE THE TRAUMA OF THAT TIME BECAUSE MANY WILL HAVE BEEN ALIVE AT THE SAME TIME AND SINCE THE SHOW WAS TARGETTED AT AN OLDER DEMOGRAPHIC IT DIDNT BECOME SUCCESSFUL OR PEOPLE FOUND IT DISRESPECTFUL FOR THE USE OF STEREOTYPES AND THAT IT WAS MOST LIKELY NOT RIGHT SO GOING OFF OF STEREOTYPES OF WHAT THEY THOUGHT WOULD APPEAL TO AUDEINCE. THIS LINKS TO HALL’s encoding/decoding model 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 but also highlights the active ways in which audiences engage with these meanings and accept, reject or modify them. The lived experience of German audiences, especially those who lived through the historical period being portrayed in the series may have led them to adopt an oppositional reading of the text, rejecting its subversion of genre expectations. SINCE IT CAME OUT D83 HAS GAINED A 91% AVERAGE RATING ON ROTTEN TOMATOES AND BECAME THE HIGHEST RATED FORGEIN LANGUAGE DRAMA IN THE UK WITH OVER 1 MILLION VIEWS. SO, THE FACT THAT IT HAS DONE SO WELL AND THE FACT THAT IT HAS A 91% RATING ON ROTTEN TOMATOES WHICH IS GLOBAL COULD MEAN THAT THERE IS A LACK OF KNOWLEDGE OF WHAT HAPPENED IN EAST GERMANY AND THAT IT WOULD DO WELL PARTICULARLY IN COUNTRIES THAT DIDNT KNOW WHAT GERMANY WAS LIKE IN THE 80S. So, while LFTVDs do lend themselves to more nuanced exploration of contentions social, cultural and historical periods the lived experience of audiences may influence economic success. So, again, it would be wrong to suggest that genre is irrelevant here, indeed it may be seen as highly significant in understanding how LFTVD producers develop a relationship with their varied international audiences.