EVALUATE REPRESENTATION: GAUNTLETT

Gauntlett’s theory of identity argues that media no longer presents fixed messages about who we are, but instead offers a “toolkit” of diverse and fluid representations from which audiences can construct their own identities. He emphasises that modern media allows individuals to explore, negotiate, and express identity in more personal and complex ways, particularly through long-form TV drama, which offers sustained character development and opportunities for audience engagement. Gauntlett also highlights the growing importance of participatory culture, such as fan art, fiction, and online communities, as spaces where audiences can take part in shaping identity narratives.

This theory is useful for analysing Stranger Things and Deutschland 83, both of which present multiple and sometimes contradictory representations of identity. In Stranger Things, a range of masculinities is depicted, from Hopper’s emotional repression to Steve’s growth into a nurturing figure, allowing viewers to identify with different models of male identity. Eleven, a powerful yet vulnerable girl, also challenges gender norms and has become a point of identification for many fans. Online fan culture around Stranger Things allows audiences to remix and reimagine these characters, using them to express their own identities. In Deutschland 83, Martin’s dual role as both a loyal East German and a reluctant Western spy highlights the instability of identity in a divided political world. His struggle to reconcile conflicting roles reflects Gauntlett’s idea that identity is fluid and shaped by social and historical context. Clearly then, we can see the utility in applying Gauntlett's theory to the power of Long Form narratives to challenge ideas about identity and even to offer audiences the opportunity to shape their own identities.

However, Gauntlett’s theory has limitations. It focuses heavily on audience agency and tends to overlook the role of media producers, dominant ideologies, and genre in shaping which identities are made visible. For example, Stranger Things initially centres largely on white, heterosexual characters, limiting the range of identities some viewers can connect with. While fan culture can expand representation, not all audiences have equal access to those platforms. In Deutschland 83, although Martin’s identity is portrayed as unstable, the show still relies on binary oppositions between East and West, potentially reinforcing stereotypes. Gauntlett also underestimates how historical and social contexts, like the Cold War setting in D83 or the patriarchal family structures in Stranger Things, can constrain identity formation. Therefore, while his theory is valuable in understanding how audiences use media to explore identity, it works best when combined with theories that consider power, ideology, and historical context.

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