EVALUATION MEDIA LANGUAGE: NEALE

Neale’s genre theory argues that genre depends on the repetition of codes and conventions in media products. However, these conventions are not fixed; they evolve as producers subvert established tropes or use hybridity to combine genres. Genre also extends beyond the text itself, as reviews, marketing, and audience expectations help to shape how a genre is understood. His theory is useful for analysing long-form TV drama, as it highlights how genre conventions contribute to audience engagement and meaning-making.

A key strength of Neale’s theory is its ability to explain how genre conventions both establish familiarity and evolve over time. Stranger Things, for instance, heavily relies on 1980s sci-fi and horror conventions, particularly in episode one. The opening scene, featuring a scientist being attacked in a shadowy government facility, immediately evokes classic horror tropes. Meanwhile, the suburban setting, kids on bikes, and synth-heavy soundtrack reinforce the show’s nostalgic homage to 1980s adventure films like E.T. and The Goonies. By adhering to these recognisable genre codes, Stranger Things appeals to audiences familiar with these conventions while simultaneously attracting new viewers intrigued by its blend of sci-fi, horror, and coming-of-age drama. Neale’s theory helps to explain how this intertextuality strengthens audience engagement.

However, a key limitation of Neale’s theory is that it focuses primarily on repetition and variation within genre, rather than considering the ideological messages within media texts. While Stranger Things plays with genre conventions, it also explores themes of government secrecy, trauma, and friendship, which are not easily explained by genre theory alone. For instance, Eleven’s introduction, where she is shown as a frightened and vulnerable escapee from Hawkins Lab, establishes a deeper emotional core that extends beyond simple genre expectations. This suggests that while genre helps to shape audience expectations, it does not determine the full meaning of a text.

Similarly, D83 provides an interesting case study for Neale’s theory due to its blend of historical drama, spy thriller, and coming-of-age narrative. Episode one features conventions typical of the espionage genre, such as surveillance, coded messages, and tense interactions between operatives. However, the show also subverts expectations by positioning its protagonist, Martin, as a reluctant spy rather than a seasoned agent. His inexperience and moral uncertainty challenge the typical hero narrative of the genre, adding complexity to the storytelling. Neale’s emphasis on genre hybridity helps to explain how D83 blends conventions to create something fresh. But, as with Stranger Things, the ideological dimensions—such as its portrayal of East and West Germany—are not fully accounted for by Neale’s model.

420 WORDS – 8/10

Another challenge for Neale’s theory is its limited consideration of audience interpretation. While it explains how genre conventions evolve, it does not fully address how audiences engage with and negotiate these conventions. In Stranger Things, the Demogorgon is a central horror element, but its presentation is influenced by audience expectations. The show delays fully revealing the creature, relying on horror tropes of suspense and suggestion. However, given that modern audiences are highly media-literate, they may anticipate this technique and interpret it as a genre convention rather than a purely terrifying moment. This demonstrates that audience engagement with genre is active and reflexive, something Neale’s model does not fully explore.

Similarly, D83’s depiction of Cold War espionage plays into genre expectations but also challenges them. The show’s use of 1980s music and vibrant Western aesthetics contrast with the austere East, reinforcing stereotypes associated with the era. However, its narrative complexity, particularly Martin’s divided loyalties, disrupts a simplistic ‘good vs. evil’ framework. While Neale’s model explains how the show blends genre elements, it does not address how audiences might interpret these portrayals differently based on their own political or historical perspectives.

610 WORDS – 9/10

Ultimately, while Neale’s genre theory provides a useful framework for understanding the evolution of genre conventions, it is less effective as a standalone approach to analysing long-form TV drama. It does not fully account for ideological content, audience interpretation, or the broader cultural significance of media texts. More comprehensive approaches, such as Jenkins’ theory of fandom or Hall’s Reception Theory, may offer deeper insights into how audiences engage with genre narratives. So, while Neale’s model is valuable for explaining genre evolution, it is most effective when combined with theories that consider audience agency and ideological critique.

700 WORDS – 10/10.