TASK 1:
Mark the paragraph on Deutschland D83.
TASK 2:
Rewrite the paragraph on Deutschland 83 so that it achieves a higher score.
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.
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Sample 02: Representations of social, cultural and historical events can vary within long form television dramas from different countries. Discuss how and why audiences might respond to and interpret these representations differently.
ReplyDeleteD83 is a pivotal example of how audiences may respond to and interpret representations of events in LFTVDs differently. D83 is set within divided Berlin during the Cold War, demonstrating the contrasting lives led by the East and the West and the tensions that existed between them (displayed readily by Mrs Werner’s disgust as she discovers that Martin is East German from his telephone call). The audience views the event from the perspective of Martin, an East German boy who is enlisted into becoming a spy by his aunt Lenora. However, unconventionally, Martin is represented in a somewhat sympathetic view, as we learn of his mother who requires surgery which could only be afforded with his espionage work. The East is also depicted as a much poorer, restricted land in comparison to West Berlin’s consumer heaven, represented by the oversaturated, vibrant stocked supermarket shelves Martin witnesses as he attempts to flee. To international audiences, this was very well received, with audiences praising its historical accuracy and realistic approach to the ambiguity and emotional complexities of indirect warfare. However, the programme did not perform nearly as well in Germany, with audiences disliking a range of representations, from the old-fashioned marketing (some deemed ‘tired’ or ‘outdated), to the compassionate depiction of East German agents. Some even declared that the show was far too stylised for a historical piece, to which co-writer/producer Joerg Winger responded that the show aimed to construct ‘psychological realism’ and not complete duplication. Theorists such as Hall would deconstruct this difference in opinion due to the fact that media is inherently polysemic; all media products have a ‘preferred meaning’ that is encoded into the piece, but this can be recieved in greatly different ways. International audiences seem to accept the ‘preferred meaning’, taking on this new perspective they hadn’t previously greatly considered. Whereas, German audiences may adopt a ‘negotiated’ or ‘oppositional’ reading due to their personal experiences, education, or greater exposure to the events discussed in the show, which simply may not offer what they believe to be a truly nuanced representation of history.
Unlike the Duffer Brothers, Jorg Winger who co-wrote D83, served in the West German military during the cold war and was unlike stranger things that attempted to construct a nostalgic hyperreality was heavily praised for its historical accuracy. There is a convention in many spy thrillers that use a gearing up sequence where the spy gets given high tech gadgets. D83 still sticks to genre conventions whilst attempting to appear historically accurate this is done through the gearing up sequence in D83 where Martin gets given his outfit containing very normal clothes like Addidas trainers and a puma t-shirt which Bartes would suggest are signifiers of west German capitalist beliefs in an attempt to simulate the fashions and styles of west Germany to blend in. This subverts the idea of giving the spy high tech gadgets to ground it in a more realistic and historically accurate setting whilst still adhering to the genre conventions of spy thrillers. Hall would suggest that D83 presents a historically accurate representation of the west German military leaders as they were exclusively white showing a race divide or just a predominantly white German population. The inclusion of Lenora as a high-powered individual and leader in the HVA may at first appear subversive of the dominant reading of what 1980s gender roles were like instead conforms to the powerful and dangerous female trope that appears in many spy thrillers like M in James bond played by Judy dench whilst contrasting the values placed on gender in the east and west through the depiction of the secretary being the only woman we see in the west German military base. The wingers may have chosen this representation of a powerful woman to appeal to a wider range of viewers and provide a character for viewers to align themselves with whilst still appearing as a historically accurate representation of cold war Germany.
ReplyDeleteUnlike the Duffer brothers, Jorg Winger, co-writer of Deutschland 83, served in the West German military during the Cold War, and his extensive research has garnered praise for the show's historical accuracy. The series constructs its historical diegesis using symbolic elements like the Puma T-shirt, Adidas trainers, and Levi’s 501s to convey values and ideological messages about the capitalist West. For instance, during Martin’s escape, a supermarket filled with brightly colored products symbolizes the abundance of the West. However, the soundtrack, featuring Sweet Dreams, critiques this abundance, hinting at a sense of emptiness and consumerist excess. This can be interpreted as a commentary on Germany's struggles to reconcile with its divided past.
ReplyDeleteThe extended runtime of long-form television dramas allows for this nuanced exploration of social, political, and historical contexts. This depth aligns with generic conventions of spy thrillers but also subverts them. Deutschland 83 reflects a patriarchal West Germany, a historically accurate representation, yet challenges this with Lenora as a leading figure in the HVA. Her position of power within the Communist system offers a contrast to capitalist patriarchy, engaging modern audiences with representational subversions. Lenora’s ruthlessness echoes figures like Judy Dench’s M, situating her within familiar genre tropes while also reflecting evolving gender dynamics.
The Wingers’ socio-historical messaging appeals to both German and international audiences through these layered representations, whether as a critique familiar genre conventions. However, the extent to which this approach reflects audience expectations or the creators’ motivations remains open to interpretation.
Unlike the Duffer brothers, Jorg Winger who co-wrote D8, served in the West German military during the cold war period and extensive research has rightfully garnered the programme praise for its focus on historical accuracy. USING GERBNER WE CAN ARGUE THAT D83 CONTRIBUTES TO MEAN WORLD SYNDROME THROUGH THE VIOLENCE THROUGHOUT THE SHOW, ASWELL AS MAKING NATO THE VILLIAN, WHICH IS DEFYING GENRE AS MOST OF THE TIME IN WESTERN MEDIA NATO ARE THE GOOD GUYS AND THE COMMUNISTS ARE THE ANTAGONISTS, THIS USE OF GENRE MAKES IT APPEALING TO AUDIENCES AS IT IS SOMETHING NEW. Barthes allows us to look at the use of signifiers such as the use of the puma t shirt, adidas trainers and Levi’s 501s THIS LINKS WITH GENRE AS MORE OF A TIME PIECE AS THE CLOTHES REPRESENT THE HISTORICAL AND CULTURAL IDEOLOGY FROM THE TIME THIS NOSTALGIA WHICH WILL BRING VIEWS IN WHO WERE ALIVE THEN AS THEY WANT TO SEE HOW IT IS REPRESENTED.
ReplyDeleteLarisa
ReplyDeleteUnlike the Duffer brothers, Jorg Winger who co-wrote D83, served in the West German military during the cold war period and extensive research has rightfully garnered the programme praise for its focus on historical accuracy. The extended run time of LFTVDs lend themselves to this nuanced exploration of social, political and historical contexts, and this type of nuanced exploration is arguably a generic convention of many such long form spy thrillers. Hall might point out that D83 constructs a representation of a predominantly white, patriarchal, heteronormative society. Marginalised social groups are absent from positions of power in West Germany which may reflect a historically accurate patriarchal society. However, this is challenged by the representation of Lenora as a leader of the HVA, presenting a strong and powerful female figure which adheres to generic tropes. This lends itself to Gauntlett's identity theory, where we can see a destruction of the normalised convention of “stylised gender acts” as Lenora is in a position of high authority, which breaks the constructed identity and shifts away from the old binary definitions. It can therefore be argued that this subversion of normal genre tropes, appeals to contemporary audiences as the identity of women is negotiated. We might assume this is similar to the Duffer brothers bringing in modern representational subversions to appeal to a modern audience, but D83’s commentary on gender may be egalitarian communist system which has promoted a woman to a position of power. Lenora’s ruthlessness is certainly reminiscent of Judy Dench’s M. The Wingers may have chosen their socio-historical messaging to appeal to generic contentions understood by both German and international audiences, but it really isn’t clear whether this is their motivation.
Unlike the Duffer brothers, Jorg Winger, co-writer of Deutschland 83, served in the West German military during the Cold War, and his extensive research has garnered praise for the show's historical accuracy. We can apply Neale as within both LFTVDs there are clear genre conventions of the 1980s. Signifiers in D83, such as the Puma tshirt, Adidas trainers and Levi’s 501’s connote ideological messages around the social context of the capitalist West Germany. When Martin attempts to escape, he runs through a brightly coloured supermarket soundtracked to the song ‘Sweet Dreams’ which puts down the consumer capitalist focus of choice, suggesting it is empty and unfulfilling. It is also a classic song from the 80s, which further shows recognisable genre conventions of the 1980s.
ReplyDelete