2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all use intertextuality in the same way.’ How far do you agree?
Another way to assess the validity of the statement is to examine how Stranger Things and D83 use intertextuality to construct historical context. Both are set in 1983 and rely on intertextual references to establish the verisimilitude of their diegeses through mise-en-scène, costume and music, yet they do not use intertextuality in the same way, nor for the same ideological effect. In D83, historical meaning is constructed through layered visual and aural signifiers that function both referentially and critically. Applying Barthes, items such as Martin’s Puma T-shirt, Adidas trainers and Levi’s 501s operate as intertextual signifiers that clearly connote the 1980s West German setting while also communicating ideological meanings about identity, consumerism and capitalist desire. Levi’s, in particular, symbolises the cultural dominance and seductive power of Western capitalism, functioning as an intertextual reference to Cold War tensions between East and West. When Martin escapes into the brightly lit supermarket filled with colourful consumer goods, these signs operate as myths, naturalising the ideological message that the West is a place of abundance and freedom. However, this is complicated by the direct intertextual use of Eurythmics’ Sweet Dreams, which reinforces historical authenticity while simultaneously critiquing consumer capitalism through its lyrics about emptiness and desire. Here, intertextuality is not merely decorative or nostalgic, but is used to construct a reflective and politically charged historical commentary on Germany’s divided past, demonstrating originality in function as well as form. By contrast, Stranger Things uses intertextuality to construct a hyperreal version of the 1980s rather than a historically critical one. Applying Barthes, the Wheeler household is established through familiar intertextual signifiers of 1980s American cinema: warm lighting, suburban mise-en-scène, period props and costumes that recall E.T. and Poltergeist. These signifiers immerse the audience in a historically recognisable world, but one mediated through cinema rather than lived reality. Baudrillard is particularly useful here, as Stranger Things constructs a state of hyperreality: a simulation of a simulation, where the audience experiences nostalgia not for the real 1980s, but for Spielbergian representations of the 1980s. This is reinforced by the Duffer Brothers’ deliberate technical choices, such as using Leica Summilux-C lenses to replicate the visual texture of late 20th-century cinema. Intertextuality therefore becomes pastiche, producing pleasure through recognition and nostalgia rather than historical critique. However, this hyperreal nostalgia is destabilised through darker intertextual references to films like Alien (1979), suggesting that beneath the American Dream lies fear, secrecy and corruption. Applying Hall’s encoding/decoding model, some audiences may read these references nostalgically, while others interpret them as critical reinterpretations of Cold War ideology. Therefore, although both texts use intertextuality to establish historical context, they do not use it “in the same way.” D83 employs intertextuality as ideological critique and historical reflection, while Stranger Things primarily uses it to construct hyperreal nostalgia and emotional immersion. This demonstrates that long-form television drama does not lack originality in its use of intertextuality; instead, intertextuality is shaped by different historical purposes, meanings and ideological functions.
2026: “Economic contexts are more influential on the way that programme makers use intertextuality than social, cultural or historical contexts." How far do you agree?
Although economic context strongly shapes the use of intertextuality in LFTVDS, historical context can also play a significant and independent role in determining how intertextual meaning is constructed. Both Stranger Things and D83 are set in 1983 and use intertextuality to establish the verisimilitude of their historical diegeses through mise-en-scène, costume and music. However, the ways in which they deploy these intertextual references are shaped by historically specific ideological meanings rather than purely commercial considerations. In D83, historical meaning is constructed through layered visual and aural signifiers that function both referentially and critically. Applying Barthes, signifiers such as the Puma T-shirt, Adidas trainers and Levi’s 501s operate as intertextual references that clearly anchor the text in 1980s West Germany, while also communicating ideological meanings about capitalist identity and desire. Levi’s, in particular, symbolises the cultural dominance of Western consumer capitalism, functioning as a historical intertextual reference to Cold War tensions between East and West. When Martin enters the brightly lit supermarket filled with colourful consumer goods, these signs operate as Barthesian myths, naturalising the ideological message that the West is a place of abundance and freedom. However, this myth is destabilised by the direct intertextual use of Eurythmics’ Sweet Dreams, which reinforces historical authenticity while simultaneously critiquing consumer capitalism through its lyrics about emptiness and desire. Here, intertextuality is not functioning primarily as market familiarity, but as historically situated ideological commentary on Germany’s divided past. By contrast, Stranger Things constructs historical context through intertextual simulation rather than political critique. Applying Barthes, the Wheeler household is encoded through recognisable intertextual signifiers of 1980s American cinema: suburban mise-en-scène, warm lighting, period props, and costumes referencing films such as E.T. and Poltergeist. However, Baudrillard is particularly useful in explaining how this produces hyperreality: Stranger Things does not reconstruct the lived reality of the 1980s, but a simulation of Spielbergian representations of the 1980s, a copy of a copy. The Duffer Brothers’ deliberate technical choices, including the use of Leica Summilux-C lenses to replicate the visual style of late twentieth-century cinema, reinforce this hyperreal historical construction. Intertextuality here produces nostalgia for the simulacrum rather than for historical reality. Yet this hyperreality is destabilised through darker intertextual references to films such as Alien (1979) and through the representation of Hawkins Laboratory, which encodes Cold War anxieties about state power and unethical experimentation. Applying Hall’s encoding/decoding model, audiences may decode these historical references either nostalgically or critically, depending on ideological position. Therefore, while economic context may shape the conditions of production and distribution, this comparison demonstrates that historical context significantly influences how intertextuality is selected, framed and interpreted. In both texts, intertextuality functions as a historically meaningful system of representation rather than merely a commercial strategy. This challenges the claim that economic contexts are more influential than historical contexts in shaping the use of intertextuality, showing instead that historical meaning-making remains a powerful and structuring force in long-form television drama.
What went well - answering the question and a lot of context was included.
ReplyDeleteTo improve - include another theorist, intertextuality and examples
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ReplyDeleteDid a good job at giving specific examples from the text and providing analysis on them
Could improve by introducing more theory
Throughout the paragraph, it answers the question quite well, referring back to the historical context of the show consistently and it addresses the context quite well. The examples are analysed very well but for the next paragraph it should definitely add another theorist and compare D83 to Stranger Things.
ReplyDeleteI think the way that Barthes is linked to intertextual references to capitalist society was clear and made a strong point to answering the question. To improve, more points further on in the paragraph to theorists could be useful
ReplyDeleteYou used the language of the question in your answer and addressed context well. Would like to see another theorist applied. The examples that were provided were analysed and explained using historical context. I would say that it would be nice to see a lot more comparisons.
ReplyDeletethey only used on theorist.
ReplyDeletethe examples were analysed well. historical context was used throughout and stated at the beginning and the question was answered.
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Deleteclearly answers question and analyses examples but may need more theory
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ReplyDeleteStranger things lean on intertextuality to provide context to the historical setting one example of this is through the music used. Both stranger things and D83 use songs from the hot 100 like Major Tom and 99 Red balloons from D83 and Africa in Stranger things here Bartes could be applied as these signifiers are used to construct a representation of the time. This use of intertextuality is hardly original with it being a common trope of many periods shows and is used across many parts of the world. Despite the clear attempt to place it in this era it could be argued that Stranger Things is not really set in the 1980s and is instead set in an 80s movie. Baudrillard could argue that the setting is a hyperreal simulation (a copy of a copy) of what modern audiences think the 1980s was like one reason for this is the duffer brothers born in 1984 are too young to remember the early 1980s and are instead using intertextual references to construct what they believe it was through the media they consumed hence the show is filled with bikes and action figures similar to the items belonging to Elliot in ET furthermore both ET and Stranger things have characters playing Dungeons and Dragons early in the story in order to set up the protagonists and the warm lighting inside a large suburban house creates a similar environment in Elliot's house and mikes basement. This in many ways is a much more interesting and original use of intertextual references to construct a historical setting as it does not attempt to make a real world this is in part aided by the widespread recognition of American culture through its dominance in media which is something that D83 could not do due to its non-American setting yet there are still references to American capitalism throughout.
When talking about the importance of intertextulity, it is worth considering the historical context. Although both Deutschland 83 and Stranger Things are set in 1983, they have very contrasting intertextual references, which is arguably due to the fact that one is a sci-fi horror, and the other is a Cold War espionage. During the filming processes, the Duffer Brothers used a Leicia Summilux-C lens to recreate Spielbergian classics like the Goonies (1985) and E.T. (1982). Baudrillard would therefore suggest that these intertextual references are attempts at making a hyperreality, which perhaps evokes the idea that although there is a lack of originality, these intertextual references allow the LFTVD to be more popular as a result of the nostalgia for the simulacrum. Moreover, we can apply Hall’s decoding/encoding model to the intertextual nods to historical tropes presented in an archetypical way like the depiction of Hawkins National Laboratory in relation to governmental secrecy predicaments, linking itself to the fears of the Cold War era like the 1983 Able Archer War Scare. Hall suggests that the dominant preferred meaning of the text encourages these social anxieties. This is similar to that of Stranger Things, with the underlying mistrust of individuals in authority not performing their jobs properly – like the suspicions surrounding Hopper. So, intertextual references are integral at providing the originality for LFTVDs, while considering historical contexts.
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To analyse historical context of Stranger Things, set in 1983, we can apply Barthe’s theory, such as on the first opening scenes to the town Hawkings, the Wheeler house, the sprinkler are signifiers that represent a stereotypical 80’s film suburban home in cinema. When we first meet the Wheeler family, not only do we see signifiers of the the clothing that they are all wearing which is an intertextual reference to the fashion in the time era, but we also have a mainstream nuclear family dynamic, where the family members have the standard stereotypical roles, which Hall’s representation theory would recognise, is the average typical fixed gender norms in the 80’s and the perfect American dream in cinema. We can also apply Gauntlet in the way that all authority members, the scientists and the detective police force and even the teachers at school are all strictly male, this is and intertextual reference to patriarchal society which would have been common in the 80’s for some historical context and could be interpreted ideologically as a power of masculinity . When the group of boys are out looking for Will, they are out riding their bikes, a representation of ‘childhood freedom’ and also a signifier from Barthes we would refer to as an intertextual reference to the 80’s and other Spielberg references to films such as ET (1982) and the Goonies (1985) this is specifically evident in the Leica Summilux-C lenses to furthermore recreate the shot for viewers to feel nostalgic, these connections and references, such as music from the era, create nostalgia for the audience, as they may be things they associate with their own upbringing or iconic 80’s films.
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good: answers question rly well, contact fab
Deletebad: casual language, wastes time
ugly: monty
i love you monty
DeleteAnswers the question thoroughly and uses clear, detailed examples.
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On the other hand, Stranger Things reflects the historical values of the USA in the 1980s such as the fear of communism and war during the Cold War and the general mistrust of the government with the Watergate scandal and human experimentation program MKUltra that concluded just 10 years prior. Intertextually, these themes link up with the pastiches of Spielbergian movies to engage and ground the audience in the narrative presented. For example, Eleven embodies the extra-terrestrial superpowered stereotype of Spielberg's E.T with government mistrust, being the result of abusive government scheming and experimentation. Applying....
ReplyDeleteIn terms of historical context, Stranger Things and D83 provide intertextual references from the 80s era in order to set the verisimilitude of their diegeses, in different ways. Stranger Things uses the mise-en-scene to provide historical context for the audience through the way the characters are dressed, for example Nancy Wheeler, who wears outfits in the style of the fashion trends of the time. The setting and props can also pay homage to films like E.T, through the similar shots of E.T and Eleven watching TV. Barthes theory of Semiotics would say that the Duffer Brothers use signs to communicate ideological messaging in order to reinforce cultural setting of the 1980s. We can also apply Hall’s encoding and decoding model, as those viewers who grew up during the 80s will appreciate the nostalgic references which show a preferred reading. However, an oppositional reading of the show could be from a younger audience who have not seen films used as intertextual references (such as E.T, Firestarter and Alien) and therefore do not value the references quite the same. Differently, Deutschland 83, use intertextual references to set the historical and cultural scene. Deutschland 83 focuses on the political events of the time, the Cold War in Germany. The producers reinforce the ideological divides through the separation of a West and the East. As Martin goes into West Germany, we see a capitalist society through the clothes Martin is told to wear, such as a Puma T-shirt and Adidas trainers. The argument that intertextuality takes away the originality from a Long Form Television Drama, is not true because it allows audiences to engage with the text (Stranger Things) and gives the historical context of the time (Deutschland 83).
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ReplyDeleteIn terms of historical context, Stranger Things can be questioned on its historical accuracy as it ‘lacks originality’ as it seems to pay a homage to the 80s Spielberg cinema using intertextual references. The Duffer brothers have done this since they were born in 1984. We see this when applying Bart in the opening scene with the warm inviting lighting, suburban kitchen layout and period-accurate props (like the wood-panelled T.V. and the rotary phone). These are intertextual nods to Spielburg films such as E.T. (1982). They also introduce the Wheelers who are a nuclear family, a typical Spielburg convention, yet applying Hall we see a modern representation to the characters such as the character of Nancy subverting conventions by anti- stereotypically excelling in science while also fitting in as a teenage girl. Applying Hall’s encoding/decoding model some viewers may decode these references as nostalgic of their youth when gender ideology was being challenged, while others may see them as counter-typical reinterpretations of familiar narratives they have seen of films in the past blending historical context with creative storytelling. However, in D83, intertextuality ‘is not used in the same way’ the show has been highly praised for its authentic rendering of 1980s Germany with the co- writer Joe Winger having served for the West Germany military and interviewing the ambassador of the GDR from 1983. It can therefore be argued stranger things ‘lacks originality’ and proper historical intertextuality compared to D83 which uses more subtle and accurate signifiers to the 1980s.
When analysing the importance of intertextuality within Stranger Things we can look at the use of historical contexts. Like D83, Strager Things is set in 1983, a time known for its signifiers among TV and film such as Spielberg classics. Baudrillard theorises simulations lead to a state of hyperreality. When applying this to ST we can see how the Duffers have used these signifiers to construct a hyperreal diegisis. The Duffers understanding of the 80s film approach from Spielberg led them to even use the Leica Summilux-C lenses to form a visual experience that one may have from watching films such as Goonies (1985) or E.T. (1982). This understanding of Baudrillard among historical contexts, follows on from Barthes’ analysis of features such as 80s clothing and home wear, however it can be pushed onto the nostalgia that it creates as it attempts to achieve this hyperreal cinematic Spielberg world. This is done through simulation, leading the viewer to recognise familiar historical references from their past that many of the 14.07million initial viewers would’ve grown up with: typical families, adventure, camaraderie and the American Dream. Hall’s theory includes the encoding/decoding model, which can be linked to some viewers decoding references as personal nostalgia, whilst others may see these as counter-typical reinterpretations of familiar narratives, among stories such as E.T., where historical context merge with the creativity of the Duffers’ uniqueness. The Duffers’ themselves were born in 1984, therefore their storytelling does become based off of the media that they consumed themselves, emphasising the use of famous films such as the Spielberg classics. This contrasts to the D83 where the whole basis was built upon Winger’s personal experience of the West German military, reflecting experienced signifiers of the time such as the consumerist Western nature, ‘Sweet Dreams’ was played in the supermarket where the shelves were stacked with products promoting overconsumption.
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