Stranger Things

Synopsis

Stranger Things is a hybrid genre show containing elements of Sci-fi , thriller, horror and drama. The show is set in 1983 Indiana and is an homage to '80s pop culture, inspired and aesthetically informed by the works of Steven Spielberg, John Carpenter, Stephen King, and George Lucas, among others. The show follows the drama based around the disappearance of Will Byers and the horror that unfolds with the Demagorgon and introduction to Eleven. 

The writers 

The Duffer Brothers (Matt Duffer and Ross Duffer (born February 1984)) are American identical twin brothers best known for writing and directing a number of science fiction and horror films and television shows. As well as writing the Stranger Things series they also wrote 2015 horror film 'Hidden' along with episodes for 'Wayward Pines'.  The Duffer brothers were raised in Durham, North Carolina. They began making films in the third grade using a Hi8 video camera that was a gift from their parents. They then moved to Orange, California to study film at Chapman University's Dodge College of Film and Media Arts, where they graduated in 2007. After writing and/or directing a number of short films, their script for the post-apocalyptic horror film, Hidden, was acquired by Warner Bros. Pictures in 2011.

From their experience in television, they began pitching their idea for Stranger Things, which Dan Cohen eventually brought to Shawn Levy. With Levy's 21 Laps production company on board, the show was quickly picked up by Netflix.

Cultural references

Stranger things contains many references to popular 80s films to add to the mise en scene and to achieve a nostalgic emotion from the audiences. This includes things such as:

Alien (1979) and Aliens (1986)

The faceless creature in Stranger Things combines design elements and traits from Predator and the first two Alien movies.

Carrie (1976)

Elle is a hybrid of two Stephen King stories about girls with telekinetic power, Carrie and Firestarter. 

Close Encounters of the Third Kind (1977)

Stranger Things and Close Encounters both feature parents whose obsession with the supernatural looks to everyone else like madness.

The Empire Strikes Back (1980)

The Empire Strikes Back was released three years before Stranger Things’ story begins, so it makes sense it would be a primary obsession for adolescent boys. Mike shows Elle his Yoda toy and later reveres her for her Jedi-like powers.

E.T.: The Extra Terrestrial (1982)

Stranger Things owes its greatest debt to Steven Spielberg’s classic story of a lonely suburban boy who befriends an alien in need. Hawkins, Indiana, isn’t quite the California suburb of E.T., but the physical and emotional terrain is similar: a sprawling town nestled against a forest; boys dashing around in packs on their bicycles; chaotic homes where latchkey kids are free to, say, hide a supernatural being without their parents finding out. As a divorced mother barely making ends meet, Ryder channels Dee Wallace in E.T., but it’s Mike (Finn Wolfhard) and Elle that recall the Elliott-E.T. relationship most strongly.

The Goonies (1985)

The friendship and giddy nerd-adventures of Mike, Lucas, and Dustin  could be considered a nod to The Goonies or Stand by Me, but the spirit of the show, as well as the period, lean more toward the former. The situation in Hawkins may be more serious — they’re looking for a missing friend, rather than lost treasure — but there’s a joyful spirit to both, as the boys improvise a mission without the intervention of adults.

Poltergeist (1982)

Step into the hall of mirrors, because Stranger Things borrows heavily from Poltergeist while taking place in a universe in which Poltergeist is explicitly referenced. In episode one, a flashback shows Joyce surprising Will with tickets to Tobe Hooper’s suburban ghost story, which thrills him because she had forbidden him from seeing it. When Will disappears, Joyce can hear her son trying to communicate from a dimension linked to the walls of her house, just like young Carol Anne in Poltergeist.

Cast

Millie Bobby Brown 

For young actor, Millie Bobby Brown is extremely courageous and outgoing in her role of Eleven. She is an English actress and model. She rose to fame for her role as Eleven in the Netflix science fiction drama series Stranger Things, for which she earned a Primetime Emmy Award. She was also featured in Once upon a time, Intruders and NCIS. For the role she noticeably shaved her head into a buzzcut, showing from the start her commitment to the role and passion. She was born 19th February 2004 in Spain. 

Finn Wolfhard

Finn Wolfhard is a Canadian actor and voice actor. He is best known for his starring roles as Mike Wheeler in the Netflix series Stranger Things, and Richie Tozier in the 2017 film adaptation of Stephen King's It. Like Millie he is also very professional for a young actor, showing charisma and clear distinction in his roles as a nerdy, quiet Mike in Stranger things to the innuendo giving, hilarious Richie in IT. 

Gaten Matarazzo

Dustin Henderson is played by Gaten Matarazzo in Stranger things. He is an American actor and began his career on the Broadway stage as Benjamin in Priscilla, Queen of the Desert, and as Gavroche in Les Misérables.

Caleb McLaughlin

Caleb McLaughlin is an American actor. He also began his career on the Broadway stage like Gaten as Young Simba in the musical The Lion King. He plays the character of Lucas in stranger things. 

Winona Ryder

Winona Ryder is an iconic and successful actress known for her acting in her younger years in the 90's. Her character of Joyce (Wills mum) adds to the mise en scene with Winona portraying her due to her prominence in the era of which Stranger things is set. She has stared in 90's classics such as Beetlejuice, Edward Scissor-hands and Girl, interrupted. She was born 29 October 1971 (age 45), Minnesota, United States. 

Charlie Heaton 

Charlie Heaton is a British actor born 6 February 1994 (age 23). In stranger things he plays the character of Jonathan Byers (Wills brother and Joyce's son). 

Natalia Dyer

Natalia Dyer is an American actress known primarily for her role as Nancy Wheeler in Stranger things. She was born 13 January 1997 (age 20), Tennessee, United States. As well as Stranger things she also starred in the Hannah Montana Movie and 2016 film, Long Nights Short Mornings. 

Noah Schnapp 

Will Byers is the young boy who goes missing (son to Joyce and brother to Jonathan)in the first episode and remains the focus primarily for the series yet his character plays little role compared to the others. He is played by Noah Schnapp who is an American actor born 3 October 2004 (age 12). He is also famous for voicing Charlie Brown in The Peanuts movie. 

Social Media presence 

Stranger Things was a large success for Netflix. For season two the 80's inflected sneak preview aired at the Super Bowl following an 'Eggo's' advertisement (linking to the show and Elevens love for Eggo's) which created a lot of hype for the upcoming season. The same cannot be said for season one but once the show aired with the nostalgic elements and thrilling plot the show soon became a success. The show also released 80's esque posters to promote the show:

Following the show many fan groups formed with appearances at comic-con etc. whom adored the series and characters, especially Millie Bobby Brown who appeared to form the most hype with her character of Eleven.

Critical impact

Awards

Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series

Producers Guild of America Award - Norman Felton Producer of the Year Award in Episodic Television - Drama

MTV Movie & TV Award for Best Actor in a Show 

MTV Movie & TV Awards for Show of the Year

                                                                                   

Stranger Things Narrative and Genre

1. What are the formal codes and conventions of Long-Form TV Drama? 

• Dramatic narrative (storyline)
• Ensemble cast (each character – own storyline)
• Multiple sub-plots 
• Main plot is usually resolved within the season however sub-plots may not be resolved till other seasons, therefore encouraging viewers 
• Expressive lighting techniques dependent on genre 
• High production value sound/emotive
• Exaggerated, hyper real representations of character – cultural stereotyping for entertainment values
• Scheduled Prime Time 
• Begin with an establishing shot or wide angle shot which establishes setting 
• Has a relatively long and possibly high-budget title sequence 

2. How similar or different are the formal conventions used in Stranger Things? 

Stranger Things adheres to most of the conventions above however due to the platform of Netflix the show does not have a Prime time slot on TV. The show was instead released all in one, possibly to encourage 'binge-watching' from their audiences. The dramatic narrative is illustrated through the disappearance of Will Byers. Along with this, there are multiple sub-plots regarding Eleven, Hopper, Nacy and Steve which are to be resolved later in the series. The lighting, character and general mise en scene relates closely to the zeitgeist atmosphere of the 80s. The high production of the drama is presented through the large budget presented through CGI and mise en scene. This in enforced through the title sequence that uses multiple graphics and an 80s style. 

In episode one the characters are introduced briefly through a series of clips illustrating their setting and importance to the plot. Through their introductions multiple sub-plots are introduced. The dramatic narrative is driven by the disappearance of Will which is then continued as the police and his friends search for him and find Eleven who is also introduced earlier in the episode. The main plot has not yet been solved in the first episode which adheres to the codes and conventions of TV drama. 

3. How does this help to develop the genre and the way in which audiences respond (positively or negatively) to long form TV dramas? The genres of the set texts for example, Stranger Things as a Science Fiction/Horror hybrid genre drama or Deutschland 83 as a Spy Thriller genre drama. 

The codes and conventions of long form TV drama help to develop the genre as the length allows for multiple plots to be explored, thus allowing hybrid genres to be explored. The context of the film allows the genre to be explored - especially with the context of secrecy and government conspiracies of the time. 

4. What codes and conventions are used to help audiences recognise their genre? 

Through use of the unrevealed and unnamed monster the horror genre is presented at the start of the episode as the establishing and tracking shots build up the tension as the monster chases the scientist. Horror narratives are unsettling and made to frighten and panic their audience but entertain them at the same time. Different forms have different codes and conventions that separate them into genres and sub- genres but most horror narratives have similar codes and conventions and specific symbols to make up the narratives iconography which allows the audience to identify the genre. 
Stranger Things also features elements of the sci-fi in the drama narrative due to the themes of government conspiracies and secrecy involving the extra-terrestrial.  The sci-fi genre incorporates hypothetical and science based themes into the plot of the narrative. The genre often includes futuristic elements and technologies to explore social, political, and philosophical issues. The generic convention of sci-fi incorporates heroes, villains, quest, advanced technology and unfamiliar locations. The genre is also supposed to be set in a futuristic or apocalyptic environment however stranger things is set during the 80s. 

5. How may of these set products contribute to changes or developments within the genre in their current form? 
6. What similarities and/or differences are there between the genres in Stranger Things? How do these help to popularise the form?

Narratology

Narratology can be defined as a ‘branch of knowledge or criticism that deals with the structure and function of narrative and its themes, conventions, and symbols’. 

This analysis of narrative can be broken down into a number of ways: 

• narrative structures 
• narrative endings 
• story beats 
• character arcs 

1. How is the episode, and the way the events unfold within it, structured?

The episode relates to Todorov’s narratology theory as at the beginning of the episode the equilibrium is established through the group of boys playing dungeons and dragons. As the episode continues this equilibrium is disrupted as Will Byers disappears after being chased by an unknown presence which, after the realisation of the equilibrium, leads to a police investigation. The attempt to resolve the disruption is illustrated as the group of boys search for Will by themselves as they acknowledge that the police are inefficient. As this is only one episode in the series the disruption has not yet been resolved as Will has not been found which therefore discredits Todorov’s theory however we can assume that there will be a resolution and therefore a new equilibrium in later episodes. In some elements the episode does not relate to Todorov's theory as the structure alternates due to multiple storylines which creates multiple equilibriums (for example Hopper's equilibrium would be waking up on the sofa and going to work expecting little work however this is disrupted with the disappearance of Will).

2. How does the episode begin and finish? 

The episode beings with an establishing shot of a night sky and a industrial and utilitarian building followed by a tracking shot of a scientist running from an unknown threat. This shot establishes the setting and the villain through what we perceive to be the death of an innocent as the shot changes just before the monster reaches the scientist. The broken lighting and dark atmosphere relates closely to the horror genre and links with 80s films such as Close Encounters Of The Third Kind and Alien. The episode then ends with a similar eerie atmosphere as the group of boys search for Will with torches relating to E.T 

3. What are the story beats between the beginning and end of the episode? 

Story beats are the points of action upon which you hang your basic story. When you connect the actual individual action points, they build up to story, like a puzzle. These are the story moments that are the X happens, and then Y happens… and then Z happens… and on.

• The scientist is chased by the monster 
• Mike, Will, Lucas and Dustin play dungeons and dragons in Mike's basement. 
• Dustin offers pizza to Nancy
• The boys leave on bikes and argue over comics 
• Will bikes off and falls 
• He is chased by a monster and runs into the shed 
• the light in the shed flashes and Will disappears 
• Joyce Byers rings Karen (Mike's mum) and the disturbance of the equilibrium is established 
• The scene changes to Hopper waking up on a sofa
• He arrives at work to Joyce in a panic about her son
• Mike, Dustin and Lucas arrive at school
• Nancy and Steve 'make out' in the bathroom as Nancy is late for her lesson
• Mr Clarke shows the boys the radio
• The headmaster calls the boys into his office where they are questioned by Hopper
• Eleven runs into a diner and steals chips 
• The chef threatens her then attempts to gain her trust as he rings social services 
• Hopper searches Wills house 

4. How is the pace set by the narrative structure and the events as they unfold? Does this support or challenge the narrative conventions of the genre?

5. Are there multiple story-lines and how are these set up within the narrative structure? What are the benefits of multiple story-lines? 

6. How can these help to develop the media form of Long Form TV Drama? 

7. How can these additional story-lines attract an audience? 

8. How effective is this structure in the way in which it communicates multiple meanings? Refer to examples from Stranger Things.

9. How does the chosen narrative structure help reinforce the genre conventions (science-fiction/horror) of the product? 

Representation 

How are individuals and social groups represented?

 Joyce Byers

Joyce is a major character, she is Will Byers mum who reports her son missing to Jim Hopper

She conforms to the single parent stereotype, as she has to work long ours to support her family, as well as her eldest son having to work, to also help pay for things.

Erratic, wants to find will, doesn't sleep, works hard

She is Will's mum and reports him missing. She is constantly looking for him and doesn't stop until she finds him.

Jim Hopper

Jim is a major character, as he is the sheriff of the town. He is in charge of the missing persons case (Will Byers).

He conforms to the stereotype of the male gender.. lazy, negative, not emotional however, on the other hand he is the stereotype of a sheriff and initiates a search party for Will.

Lazy, Does not look after himself, alone, want to find will, messy

He is the sheriff in charge of Wills missing person case and has to use all methods to find him (that are in his power).

Mike Wheeler

Major character, as he is one of the four main young characters. The TV series starts at Mike's house and they are playing a board game (dungeons and dragons).

Conforms to the stereotype of a young boy, as he is curious and adventures and brave. He wants to find Will Byers and does not think that the adults have done anything.

He is brave, young and wants to find out what happened to his friend, Will Byers.

He is one of the five main kids in the television series, who is trying to find out what happened to Will Byers and why he is missing.

Dustin Henderson

Major character, he is one of the four main young characters. He is in one of the first scenes of the TV series. he is seen playing a board game (dungeons and dragons) with the rest of the kids, in Mike Wheeler's house

Conforms to the stereotype of a young boy, as he is curious and adventures and brave. He wants to find Will Byers and does not think that the adults have done anything.

He is young,brave and follows what the rest of the boys do. He is worried about what consequences of the actions will have. However, he still wants to find Will and make sure that he is okay.

He is one of the five main kids in the television series, who is trying to find out what happened to Will Byers and why he is missing.

Lucas Sinclair

Major character, he is one of the four main young characters. He is in one of the first scenes of the TV series. he is seen playing a board game (dungeons and dragons) with the rest of the kids, in Mike Wheeler's house

Conforms to the stereotype of a young boy, as he is curious and adventures and brave. He wants to find Will Byers and does not think that the adults have done anything.

He is young,brave and follows what the rest of the boys do. He is worried about what consequences of the actions will have. However, he still wants to find Will and make sure that he is okay.

He is one of the five main kids in the television series, who is trying to find out what happened to Will Byers and why he is missing.

Will Byers

The main character, the whole television series is based on Will Byers being missing, therefore he is a major character and one of the most important. He is in one of the first scenes of the TV series. he is seen playing a board game (dungeons and dragons) with the rest of the kids, in Mike Wheeler's house.

Conforms to the stereotype of a young boy, as he is curious and adventures and brave. He also cycles home by himself, which again shows that he is brave, even though he manages to go off of the road and run home, when something was following him.

He is quite unique and mysterious. He also does not have much of a background, which is why it is confusing and mysterious why he was the only boy to have gone missing.

He is the boy that went missing and everyone else is trying to find where he is and why he has gone.

Eleven

Major main character, at the end of the episode the boys find her running though the forest and then it ends there,on a cliff hanger. 

Counter-stereotype , shaved hair, perceived masculine 

Supernatural, quiet, mysterious, scared, powerful

Secondary story line for the narrative, eventually helps to look for Will, but only later on in the series.

Johnathan Byers

Secondary main character 

Stereotype of an older brother, out working, however emotional and concerned when Will disappears 

Worried, helpful and sorrowful

Is a secondary character to the narrative in relation to the main character.

Nancy Wheeler

She is not a major character in episode one, as she is part of a sub-plot

Stereotype of an older sister and also a stereotype of a girl, wearing light colours, focusing on her education and not as much on boys (Steve Harrington).

Rude to Dustin, kind to the people her age, has arguments with her brother.

Her younger brother is Will Byers friend. Throughout the series she becomes more of a major character, than a secondary main character. Nancy contributes to the narrative more during the television series, rather than in the first episode, she becomes more involved with Will's missing persons case further along in the television series.

Benny Hammond

Benny Hammond is a minor character in the first episode and is portrayed to be a typical well-built and protective male American. He first appears when Eleven walks into his diner and he shouts at her for stealing fries. He then portrays a more parental persona as he cares for Eleven and attempts to ask her questions. He is arguably stereotypical of a middle aged American man as he is harsh in initial appearance yet his caring side is shown as he rings social services to help Eleven. His contribution to the narrative is cut short as he is shot by the 'social worker' and subsequently dies. 

Mr Clarke

Mr Clarke is a minor character as he features as a science teacher at Hawkins Middle school. Though initially he is presented to be authoritative and superior to the class whilst he teaches, his persona changes as the bell goes and he is left with Dustin, Mike and Lucas. He then adapts to a more friendly personality and appears to be on the same level as the boys as they share in excitement with the radio. In the first episode his sub-plot is not major as we only see the character for a few minutes as he is teaching and showing the boys the international radio. He is stereotypically 'nerdy' and enthusiastic about his position as a teacher and carries the caring and helpful personality as he talks to Hopper about how good of a student Will is during his search party.  

Connie Frazer (social worker)

Connie Frazer is prentend to be a contrasting character who subverts feminine stereotypes; especially of the 80s. Though she is a minor character she appears to be fairly important towards the end of the lesson when she shoots Benny Hammond. She subverts female stereotypes of the 80s as typically a male would have held such a violent role.  

The Scientists

They play a minor role in the first episode as they only really appear in the opening scene, but do play a big part in the way that they know what the audience don't in terms of the unknown being that has escaped.

Yes as they are very stereo-typically 'scientists' as they even wear the white lab coats and identification cards, and the only setting they really appear in in the first episode is a lab/government facility, which makes the audience recognise that they are scientists. 

We only briefly see them so only get to see the stereotypical scientist persona of them all, but see them mainly as very smart and intuitive. 

They set out the opening scene by showing a scientist running from the unknown monster and it leaves the audience in a position of ignorance as we don't know what this scientist is running from. This monster then goes on to abduct Will Byers which is the main story line of the episode.

Ted Wheeler

He is a relatively minor character and only really appears in the scene of the family dinner where he plays the character of the disinterested father.

He conforms to the Stereotypes of a father during the 80s due to his professional attire and big round glasses, but also holds the stereotype of a father in the 80s as he has little interest in anything but his life and tries to ignore what is going on in his children's.

He comes across as a very self oriented person, who lacks interest in his family and the events that are happening around him. Physically he looks like the average father at the time, with the big round glasses and shirt and tie.

He only appears in two scenes in the first episode, where he ignores his family both times, and it sets up the idea that his son has a relatively sad home life.

Karen Wheeler

Minor character, she only really appears in the first episode for about 3 minutes, and acts as the authority figure whilst the boys are playing D&D.

She acts as a stereotypical mother from the decade as she worries about her daughter getting involved with boys and is very protective of her children.

She has a classic 80s hair style with the big round curls and dresses in what would have been considered appropriate for a housewife.

She is the one that reveals to Will's mother that he didn't sleep round their house that night and so tells the mother and the audience that Will is really missing. She also tells her son Mike that he should not be worried about Will and that he is probably perfectly safe, where as he audience knows he isn't which is a use of dramatic irony. 

In the first few minutes of the show, we immediately see the different lifestyles the characters have and how it impacts their lives. In this episode, we see that the stereotype of the weird, poor kid is being enforced. Jonathan and Will Byers are growing up with a single mother who is probably working class. We can see this because of when we see the house that Mike Wheeler lives in compared to the house that Will lives in. The Byers boys, especially Jonathan, is portrayed as the social outcast who no one wants to be friends and people make fun of.  Another representation is Lucas, who is the only character of colour that we have seen. He is a rare representation of colour who is enjoying an all-American boyhood, just like his other friends, who are white. Karen Wheeler is shown to be a stereotypical mother, who is concerned about her Nancy and Mike, following the disappearance of Will. Mike is shown to be an optimist, morally compassionate and highly committed to his friends, in the first episode he goes through great lengths to find Will. His Dungeons and Dragons role as the master suggests that he is a creative thinker. Dustin is represented as an observer and a protector of the unity within the friendship group.    

Jim Hopper is represented as if he lives a carefree existence, but is still haunted his past. We can see this through the first time we are introduced to Hopper, we are shown a drawing which is drawn by a kid, which makes us think if he has child. Then the camera pans around the room, showing us a table with beer cans and pill. This might suggest that he is probably struggling with mental health. The camera continues to pan around the living room, showing us that he is a messy person. We finally see him sleeping on a couch with no top but with jeans on, this probably suggests that he is a lazy person. Throughout the episode he is represented as emotionally reserved  and cynical. As a police chief, he doesn't really care about his job, as he regularly sleeps in and shows up work, and he has an indifference to the cases that are brought to his attention. Such as, Joyce Byers' calling about Will's disappearance.I believe that he is an expect in numbing pain while pretending it doesn't exist. 
When we are introduced to Joyce Byers, the camera pans down from the sky to her house, showing us her son and we can hear her shouting and rushing as if she in a hurry. Joyce is represented as a single mother, who is probably working class. She is represented as vulnerable and fragile, yet so fierce and determined. 
The setting is Hawkins, a small Indiana town in the 80's, which would have realistically have a white majority and a few black families. So it is not surprising that there is only one coloured main character. Lucas is represented as an negative person who does not really like that Eleven is part of their 'party'. 

Due to the fact that the historical and socio-cultural contexts are representations of the producers thoughts, the contexts may be true to some extend however they are constructed so lack a great degree of realism. The use of stereotypical interpretations allow the 80s to be represented through use of colour, setting and cultural references. The setting of the laboratory shown in the first episode links to the socio-cultural context of the suspicions of government corruption and secrecy as the building is secure and set away from the main part of Hawkins. The portrayal of America in the 80s is shown through the values and norms of the era for example the lenience of the parents allowing their children to ride around on bikes at night alone. Despite this there are socio-cultural issues that are misrepresented for example the racial issues of the eighties were particularly high with a great tension still present between races yet the show does not allude to a great deal of racism through the character Lucas. However at the Hawkins school the bullies refer to him as 'shadow' which may be due to racial context yet may also be due to the bullies picking up on an immediate difference as they also do to Dustin with reference to his teeth. The cultural contexts are also referenced through the mise en scene with references to Jaws, Star Wars, Dungeons and Dragons and popular music such as The Clash. The references are also alluded to with homages to scenes of popular 80's films (which are referenced above). 

The hyper-representation of stereotypes is commonly shown in TV and film so is therefore likely to be shown in Stranger things in order to conform to the codes and conventions of TV drama. The representation of Steve for example is highly exaggerated as he is portrayed to be a stereotypical testosterone fuelled male who wants to dictate Nancy's actions and be in control of the relationship yet is prevented from doing this by Nancy herself who is misrepresented for a female portrayal in the eighties as she has a lot of control. The representation is positive and feminist for the setting as she is focused on her education over Steve. The over-representation of some characters may have been used to create an idealistic and stereotypical portrayal of America in the eighties and to create multiple sub-plots (for example the laziness of Hopper). 

The producer will have a great deal of influence in the way the events or issues are represented as their viewpoint will influence what is portrayed in the episode. 

Realism

Realism is the quality or fact of representing a person or thing in a way that is accurate and true to life, and this is different to reality as where as reality is definite, realism is manufactured and is produced to the best of the creators ability to make it seem as if it was reality. 
Realism is defined to be the quality or fact of representing a person or thing in a way that is accurate and true to life. Media producers use realism to create a world that the audience can immerse themselves in and relate to so that the film etc. that they create is more appealing as it seems realistic. This then increases the sense of verisimilitude that an audience may feel which leads to a more relatable media product. 
It is very important to have realism in Long Form TV Drama as if there are not elements of realism in the long form TV drama, it would not has the same immersing characteristics, and less people would want to watch something that doesn't seem realistic. The lack of reality in TV dramas may lead to a hyper-real representation that over-exaggerates elements of life to create the drama. This can create an interesting product if expanded correctly however if the producer over-exaggerates immensely the product would be unreal and would be far from the representations of real life. For a TV drama to be successful realism is therefore immensely important in order to ensure that it is relatable to the target audience. 
ise en Scene is very important to constructing realism, as the location and props, as well as the costumes of characters allow for the scenes to feel more realistic. The creation of the 80's environment and setting has been constructed in a realistic way in order to relate to certain audiences. Even if the audience was not born during the 80s the iconic homages show throughout the episode can be relatable as they are heavily influenced by stereotypes and social constructions.
Joyce Byers is shown as a single mum, and the director has created a sense of realism by having her house be relatively small and cramped,  showing that as their is only one parent bringing money into the household, they cannot afford a house like the Wheeler's have. This shows that to make things realistic in film, the director will have researchers who will look into the idea they want to make realistic, and create something extremely similar.

The link below shows an article regarding the realism and theoretical physics of Stranger Things:

https://www.inverse.com/article/19859-stranger-things-science-theoretical-physics-parallel-universe-alternate-dimension-reality 

Semiotics, Signs and Signifiers

The study of signs/signals and their significance of understanding what they represent within a media product which helps us to analyse and understand why certain things are put in place.
In semiotics, a sign communicates a meaning that is not the sign itself to the interpreter of the sign. The meaning can be intentional or unintentional.
The sign is the object or thing being seen. The signifier is the physical existence (sound/word/image) and the signified is the mental concept.
One signifier is the use of darkness which can be interpreted into the horror genre in which there are 3 key scenes. One being where Will gets taken by the 'antagonist' which sets the scene for a horror genre. Another scene is the opening with the stars and dark science lab where the lights are flickering which creates a mysterious tone with underlying tension from the unknown of the darkness which emphasises evil, mystery and fear.
Other signifiers in Stranger Things include the different houses, for example, Will has a small bungalow type house with little luxuries which can be interpreted into the idea that Will's family is quite poor, emphasising the reason for being in an 'outcast' group with his friends as they play dungeons and dragons which is seen as geeky as well as their clothing. This, as well as other signs such as the bullies at school, clearly shows that the main group that the audience follows are unpopular which is clearly established.

Signs and signifiers can be interpreted through multiple ways depending of the audiences outlook. Despite this there are multiple signifiers that have limited interpretations due to the fact that they are based on stereotypes. For example in relation to to Propp's character theory, the character of Will as a victim is signified through his initial demise in the game of Dungeons and dragons where he states 'the demagorgen... it got me' which arguably foreshadows his disappearance. The audience would therefore respond to the signifier in a comprehending manner as the dramatic irony may create a sense of fear or horror for the character of Will and perhaps empathy for the other boys searching for their friend. 
Similarly to representations, there is a great impact from different social, cultural, political     and historical contexts on the way we interpret meaning from the same representations. Many variables can alter the way we perceive media. These variables are dependent on the audiences outlook. Some audiences may perceive certain semiotics differently for example due to westernised indoctrination most audiences instantly relate two yellow arches to be McDonalds. Some semiotics such as Mike's wealth compared to Will's may only be noticed by certain audiences as there is the social context of the nuclear family in Mike's household vs. Will's dysfunctional family with only a single mother, yet there is also the historical context of the wealth presented through the cable TV in Mike's house at the start of the episode as cable TV had only just become available for families in the early 1980s so was therefore expensive. This therefore proves that there are multiple interpretations for semiotics depending on the audience and initial portrayal. 

Ideology and dominant ideology – Expressing viewpoints and values

What is ideology, what is dominant ideology and who are the dominant group(s) within our society? 

How do the representations offered in episode one of the set product reinforce or challenge dominant ideology? What messages and values are communicated by the representations offered in the drama?

Are these representations constructed as real and natural? If so, how is media language and constructed realism used to achieve these viewpoints as ‘truth’? 

What is the effect of dominant ideology on industry contexts? How might the choices made by media producers regarding how to represent events, issues, individuals and social groups be influenced by dominant ideology and the values of the owner? 

How can ideology influence audience response and the interpretation of meaning in the set products by audiences? Is the interpretation of meaning different for different audiences? 

How important is the political, social and cultural context in which the set products were set and produced in communicating specific values, beliefs, attitudes and ideology through the dramas?

Context

Society is a community within which people live and interact with one another. 
Social refers to the people who live in a specific place and interact with one another within the social environment. Social context refers to these people and the structure and function of institutions that operate within a society such as family, education, religion, communications, government etc... It also helps us to understand social conflicts that may arise as a result of the structure, functions and interactions of the people who live within it. We all live our day to day lives in the same society following the same structures and functions. Social context focuses on the relationship between media products and the society within which they are made in relation to social groups, attitudes, changes, conflicts and inequalities.

Culture is the way the different people who live in that society behave - you can have one society or social structure (American, British, Swedish, German) but many cultures or sub-cultures within that society. 
Cultural refers to what creates the identity of the people who live in any given society. Culture refers to the beliefs, meanings and practices that guide the shared behaviour of individuals within a group in any given society. This includes the attitudes, values, habits, customs and traditions of the shared culture. Culture can be seen to include all aspects of ‘life’ including language, the products we make, the things we do and how we do them. There can be lots of different cultures and sub-cultures within a society, which is why we might all behave, think and act a little bit differently even though we are all living our day to day lives in a similar way.

Social Contexts
Knowledge and understanding of the influence of changes in gender roles, of gender, racial and ethnic inequalities, social attitudes to sexualities on television programmes. Knowledge and understanding of the influence of social anxieties and/or contested social values on television programmes, for example the perceived rupturing of the ‘American dream’ illustrated through allegorical representations of social anxieties such as domestic terrorism and surveillance and also more broadly through wider western social values towards security and family and home and the perceived breakdown of the ‘nuclear’ family.


The episode intertextually reflects 1980s family and gender relations and is set within a Speilbergian, mostly white, world of suburban family life, representing mothers as figures struggling to hold the family together, fathers as absent or insensitive and distracted, and young boys as establishing a fierce loyalty and masculine camaraderie in the face of a hostile world. Mike’s teenage sister, Nancy, is represented in contradictory ways: she anti-stereotypically excels at science while still fitting stereotypes of the teenage girl (reflecting theories such as Gauntlett). The episode shows the influence of social anxieties about the consequences of scientific experimentation.

1. In which country is the drama set? Hawkins, Indiana, USA 

2. In which country is the drama made? America 

3. What is the social identity of the people in the drama? 

Suburban American families 

Small town

White middle class (mainly)

4. Who makes the drama? Netflix, Twenty-one Laps and The Duffer Brothers 

5. Are they a small independent organisation or a large multi-national / global conglomerate? Netflix is a multi-million company founded by Reed Hastings and Marc Randolph on August 29, 1997, in Scotts Valley, California. It specialises in and provides streaming media and video-on-demand online and DVD by mail. In 2013, Netflix expanded into film and television production, as well as online distribution. As of 2017, the company has its headquarters in Los Gatos, California.

The Duffer Brothers also directed the series as they have with other productions of theirs. On August 31, 2016, Netflix renewed the series for a second season of nine episodes, to be released on Halloween of 2017.

6. How is the social identity of the country of production reflected in the drama?  High budget, dramatised, researchers so probably more realistic.

7. What aspects of social and day to day life are reflected in the drama (being with families, going to school, legal and political systems, being religious etc.)? The relationship between the suburban mothers of Will and Mike elicit day to day life as they communicate together in unison due to the school background. The representation of the school is very conventional and reflects the day to day life of suburban America. There is featuring of bullying, romance and rebellion during the episode which is typical of a high school environment. 

8. How are these structures reflected in the drama – as usual or to be questioned? The destruction of the nuclear family and representation of Joyce and her family represents the lack of structure reflected in the drama. Will's disappearance is arguably a factor of Joyce's unavoidable neglect as she struggles to support her family as she works night shifts along with Will's brother working to support the family as the male figure. This social  and political factor is questionable as Will is left alone at a young age. Another questionable structure is the close-knit relationship between Mr Clarke and Dustin, Lucas and Mike as they partake in extra-curricular activities with the radio as the teacher acts more as a friend or paternal figure. 

9. How does the drama influence our own participation within the social structure (confirms it as the right thing to do or questions it?) 

10. Is there any social conflict apparent in the drama? There is only a slight social conflict presented in the drama through two instances; Will's family and the two bullies at school. The lack of a nuclear family creates social conflict as Will does not appear to have a dad who is around and the family is therefore troubled for money. The school bullies cause social conflict through name calling and possible racism as they refer to Lucas as 'Shadow'. 

11. How does the drama represent social changes? Social changes are barely represented in the first episode however from a feminist perspective the characters of Nancy and Joyce represent social changes as they go against stereotypes of the time. Nancy represents a strong willed character with a strong  moral compass. Joyce represents a single mother who despite her struggles provides for her family.  

Social Contexts

Knowledge and understanding of the influence of changes in gender roles, of gender, racial and ethnic inequalities, social attitudes to sexualities on television programmes. Knowledge and understanding of the influence of social anxieties and/or contested social values on television programmes, for example the perceived rupturing of the ‘American dream’ illustrated through allegorical representations of social anxieties such as domestic terrorism and surveillance and also more broadly through wider western social values towards security and family and home and the perceived breakdown of the ‘nuclear’ family.

Social Contexts within Stranger Things

The episode intertextually reflects 1980s family and gender relations and is set within a Speilbergian, mostly white, world of suburban family life, representing mothers as figures struggling to hold the family together, fathers as absent or insensitive and distracted, and young boys as establishing a fierce loyalty and masculine camaraderie in the face of a hostile world. Mike’s teenage sister, Nancy, is represented in contradictory ways: she anti-stereotypically excels at science while still fitting stereotypes of the teenage girl (reflecting theories such as Gauntlett). The episode shows the influence of social anxieties about the consequences of scientific experimentation.

1. In which country is the drama set? 

2. In which country is the drama made? 

3. What is the social identity of the people in the drama? 

4. Who makes the drama?

5. Are they a small independent organisation or a large multi-national / global conglomerate? 

6. How is the social identity of the country of production reflected in the drama? 

7. What aspects of social and day to day life are reflected in the drama (being with families, going to school, legal and political systems, being religious etc.)? 

8. How are these structures reflected in the drama – as usual or to be questioned? 

9. How does the drama influence our own participation within the social structure (confirms it as the right thing to do or questions it?) 

10. Is there any social conflict apparent in the drama? 

11. How does the drama represent social changes?

Cultural Contexts

Knowledge and understanding of the influence of national cultures on television programmes, for example the cultural importance of television dramas in reflecting, re-interpreting and re-enforcing national cultural identities and representations of social groups, events and the individuals within those (and on occasion, challenging and subverting those representations to try and instigate cultural change and domestic conversations on representations and identity). Knowledge and understanding of the influence of cultural globalisation and hybridisation on television programmes and recognition that key character types may share certain generic traits in their representations across westernised television culture.

Cultural Context within Stranger Things 

The episode shows the influence of the cultural icon of the American small town community developed by Hollywood cinema, not least in the 1980s. This representation has global recognition (by international audiences used to being positioned as Americans), given the global success of the Hollywood blockbusters of that era.

TASK: Answer the following questions for Stranger Things.

As reflected in the settings and characters within the drama (1980s): 

What do we see people doing in the drama? 

What attitudes, values, habits, customs and traditions can we see them taking part in that identifies their culture (as American, Germans, Danes etc…)?

What do they wear? 

How do they speak? 

How do they spend their spare and recreational time? 

What do we see them listening to or watching? 

What do they eat? 

Where do they go out? 

How do they interact with one another? 

What values or beliefs are they seen to hold? 

What intertextual references to other cultural products are there? 

How do audiences consume and interact with products (either of the set drama itself or how we see them consuming media within the drama)? 

As reflected at the time of the drama’s production (2016):

How does the set product typify cultural trends and preferences of what audiences like to watch? 

How do audiences consume and interact with the products? How have current cultural trends and uses of technology influenced this? 

How does the viewer’s own cultural background or social identity affect the way in which they may respond to and interpret the drama? 

How does the drama support or reinforce the cultural background of its target audience?

Historical Contexts 

Knowledge and understanding of the influence of key historical events on television programmes, for example, 9/11 and the ‘war on terror’ and how this affected the American psyche and been reflected and re-interpreted through television dramas; for example, how the reunification of Germany influenced the region and has been reflected and re-interpreted through television dramas.

When was the drama set? 

What significant events or issues happened politically, socially, culturally at that time? Write a list.

Does the drama represent or refer to any historical events?

Political Contexts 

Knowledge and understanding of the influence of attitudes to politics on television programmes including how television programmes can reflect, reinterpret, amplify and satirise national political institutions and the mechanics of their working, including an understanding that Western programme makers have the freedom to criticise and satirise their own domestic politicians and political systems. A knowledge and understanding of the need for the audience to have political knowledge itself to understand the basis of some representations in political dramas.

Political Context within Stranger Things

The episode reflects anxiety about the power of the central state in relation to the local community: the episode represents a shadowy world of possibly sinister enforcement agents, suggesting an all-powerful secret state, whereas the local police, by contrast, are represented in a humanised way – they are good-natured but made lazy and complacent until forced into action. However, the representations are perhaps deliberately stereotyped for intertextual effect – to recreate the world of 1980s films – which may suggest a more polysemic reading.

What is the political context at the time in which the product is set or made (e.g. political leadership at the time, significant political events or issues)? 

Is there any political conflict evident in the drama? 

How does the drama reflect political debates and issues? 

Could the drama be seen to influence political debates and the way in which its viewers may think or feel about these political issues? 

How is political power seen to be used or achieved in the drama? 

Does the drama contribute to shaping ideas about politics and political power? 

How could the political climate in which the audience watch the drama affect their own response?

Economic Contexts 

Knowledge and understanding of the influence of high budgets on flagship television programmes, e.g. the opportunities for character development in ‘authored’ high budget programmes allows for more complex, individualised three-dimensional characterisation rather than stereotyping. Responses may also show knowledge of the disparity between production budgets for US television dramas and European television dramas and their sources of funding and how budget can influence representations through allowing more or less choice to programme makers when constructing representations, for example, with regard to locations, settings, costumes, filming, lighting, sound and editing technology.

Economic Context within Stranger Things 

The episode reflects the continuing success of streaming services such as Netflix who need to maintain the brand with innovative and original programming.

How is the company that made the drama funded? 

What income revenues do they have? 

What is the budget for the drama? 

How does the owner(s) of the product use or develop processes of production, distribution and circulation? 

How successful is the company in comparison to others in the market? What profit have they made? 

What technological developments have there been that allows the current processes of production, distribution and circulation? 

What developments in technology may there be that could change processes of production, distribution and circulation?

The contexts in which the drama is set (1980s).

When and where is the drama set? 

What genre is the product?  

What is the political, social and cultural climate that the drama is set in? 

Are there any intertextual references to other media products, historical eras, and social identities?

How are these represented in the drama?

How accurate are these representations to the real event or issue? 

What viewpoint or ideological messages do they offer? 

How may the meanings constructed by the product be interpreted by different audiences? 

The contexts in which the drama is produced (2016).

When and where was the set product produced?  

Who owns and distributes the set product? 

What other dramas do they produce? 

What was the budget for the set product?  

Do the dramas they produce offer similar representations? 

Are there any intertextual references in the first episode of the set product?

How is the set product distributed? On what platforms? 

Is the product available globally? Which countries isn’t it available in and why is this? 

What circulation platforms are there? How is the product viewed and consumed? 

Who is the target audience? Which wider audiences might enjoy the product? 

How can audiences access and consume the set product? 

How was the drama received in different countries? 

How might their viewing contexts affect what they view and how they interact with the product? 

Which factors might affect the interpretation of meaning for different audiences of the same product? 

Ownership 

Who is the owner of the product? Netflix 

Who are they? How are they structured as a company? Do they own any other companies or are they owned by another company or conglomerate? 

Are they a specialised company? What other similar products do they/have they produced? How successful are they?

How are they funded? Where does the company’s funding come from?

Are they vertically or horizontally integrated?

How have they diversified?

What aspects of the production, distribution and circulation processes do they own?

How do they ensure their product is distributed and circulated?

How does this help with funding their products?

How does this help to reach and maintain audiences?

How do they reach their audience?

Do they have global reach? How many viewers/subscribers do they have? How many viewers have there been for the drama and/or the first episode of the first season?

How do they measure their audience?

How do they maintain their audience?

How does the organisation market their brand to the audience?

How do they market the product to the audience? Can the drama be seen to be innovative programming that their audiences will enjoy?

Processes of Production, Distribution and Circulation

Processes of Production 

What was the production budget for the set drama? 

Who made the drama? 

Where was it made? 

Where was it set? 

How long did it take to produce? Was it made by a global or international producer? 

What impact have individual producers (e.g. individual production companies, or specific production personnel such as directors or showrunners) had on production?

Processes of Distribution 

Who distributed the drama? Is the same company responsible for production and distribution? Is there international cooperation or a relationship between the producer, distributor and broadcaster of the show? 

Which formats is the drama available on? Does it have global distribution? Is the distribution different in different countries? When was it released? 

What was the marketing strategy? Who were responsible for the marketing campaign? What marketing techniques were used to reach and appeal to the target audience? Are there any examples of synergy or merchandising deals? How long did the campaign run for? Were there any extended marketing campaigns after the release of the first episode/season? 

Processes of Circulation  

How is the drama circulated? 

What formats and/or platforms is it available for viewing on? 

How many people viewed the episode? 

How did they view the episode? 

What ancillary products help to increase the product’s circulation? 

How does fan-made materials and prosumer activity help to further maintain audiences, create communities and circulate the product?

Industry 

Netflix is a multi-million company founded by Reed Hastings and Marc Randolph on August 29, 1997, in Scotts Valley, California. It specialises in and provides streaming media and video-on-demand online and DVD by mail. In 2013, Netflix expanded into film and television production, as well as online distribution. As of 2017, the company has its headquarters in Los Gatos, California.
The Duffer Brothers also directed the series as they have with other productions of theirs. On August 31, 2016, Netflix renewed the series for a second season of nine episodes, to be released on Halloween of 2017.
Netflix entered the content-production industry in 2013 with its first self-commissioned original content series House of Cards. The company has dramatically grown its original content since that time. Netflix released an estimated 126 original series or films in 2016, more than any other single American network or cable channel. These include the dramas; Narcos, The Crown, Bloodline, 13 Reasons why and Stranger things, Marvel series; Daredevil, Jessica Jones, Luke Cage and Iron Fist, Comedy series; Unbreakable Kimmy Schmidt, Master of none, Fuller house and Disjointed, Documents; Chef’s table, Making a murderer, Fearless, The Keepers and The Confession tapes, and finally the films; XOXO, Okja, Death note and (the highly anticipated) Gerald’s Game along with countless others and even more debuting this year. 
The companies current revenue is US $8.83 billion. 
For Stranger things Netflix worked along side 21 Laps Entertainment. This is an American film and television production company run by director-producer Shawn Levy. 21 Laps produces content in multiple genres and along with Levy, the company’s leadership includes Dan Levine and Dan Cohen. This company has produced films such as The Spectacular now, The Night at the museum trilogy and What happens in Vegas along with many more. 

Netflix is the world’s leading internet television network with over 100 million members in over 190 countries enjoying more than 125 million hours of TV shows and movies per day. The company’s target market includes males and females between the ages of 17-60 and households with income levels of $30,000 and up. With such huge disparity among the people belonging target group, it can easily be inferred that Netflix segments its users based on psychographics and not on demographics.

In terms of psychographics*, users are segmented in 3 basic groups –

• people who are too busy to go out and shop for movies,
• people who are frequent renters and movie buffs, and
• people who want to get the most value for their money.

*Psychographics is a qualitative methodology used to describe consumers on psychological attributes. Psychographics have been applied to the study of personality, values, opinions, attitudes, interests, and lifestyles.

Netflix gives you a legal access to a huge movies and TV shows database and the best-personalized suggestion algorithm and a seamless service without the interruption of advertisements. The service is supported on widest range of devices including PCs, TVs, mobiles, and gaming consoles. One of the differentiating factor of Netflix is that it releases new and exclusive series as full seasons and not one episode at a time which keeps its users hooked.

The primary source of revenue for Netflix is subscriptions. That is, subscribers pay to access content on Netflix and to get DVDs delivered to them and that is how the company makes money.

Cost of revenue

Licensing cost

In order to stream your favourite shows and movies in a legal environment, Netflix has to bear a cost to licence and acquire content which differs for different content.

Production cost

Netflix introduced Netflix Originals in 2013 in order to evade licencing costs and as a part of their marketing strategy to produce Netflix exclusive content. These original series involves huge production costs. This huge expenditure on production of new exclusive content has made Netflix as one of the biggest spenders in media in the category.

Marketing cost

Netflix isn’t the only content streaming website on the internet. It has to compete with many new and established players like – Amazon Prime, Hulu, Hotstar, etc. which involves a lot of marketing expenditure. Marketing costs primarily include advertising expenses, payments to affiliates and device partners, and the first month fees of every user which comes on board (the first month of every new subscriber is free).

Research and development cost

Netflix is a very keen investor in its research and development department. It’s because of this department that it has made it this far and is still leading the market with its subscription-based business model.

Technology and development cost

There are millions of users which stream content on Netflix at a time. To make their experience lag proof and seamless, Netflix has and will keep on partnering with hundreds of ISPs to localize substantial amounts of traffic with Open Connect Appliance embedded deployments. These partnerships involve huge costs.

Technology and development costs also include streaming delivery technology costs, expenses involved in designing application for new devices, and other infrastructural costs.

Indicative content 

The accuracy of depiction (realism) of 80s America may come into question as the series is more of a homage/tribute to cinema and the Spielberg cinematic universe and may appeal to two distinct audiences (nostalgic and contemporary). 

The show brings in modern representational subversions to counter the truth of 80s America, e.g. Joyce is a single parent mother holding together a family through working, her ability to influence Hopper to look for Will; Nancy subverts cultural and social codes and conventions, possibly to show degree of fourth-wave feminism which is embraced in modern society today and appeal to modern audiences: she anti-stereotypically excels at science while still fitting stereotypes of teenage girl (reflecting theories such as Gauntlett), hence role is somewhat atypical for genre; the androgynous Eleven and the fluidity of gender which may be recognisable by modern audiences. 
Episode one representations are largely shaped by nostalgic exploration of what America was like socially in 1980s, mirroring traditional family values (nuclear family, picket fences, green lawns, etc.) and pressures of gender relations coming under strain as traditional ideological systems were being challenged. 
Culturally referencing 80s films which may have improved levels of realism due to advances in technology (modern SFX budgets) which may offer audiences new experiences/enhanced readings. 
Episode shows influence of social anxieties about consequences of scientific experimentation (Reagan’s “Star Wars”) as well as post-Watergate mistrust of government/authority – some link to representations of the real and what is stereotyped to fit the genre; “conspiracy theory” elements codified through use of shadowy, sinister agents has global recognition for international audiences (used to being positioned as Americans); suggests all-powerful secret state still mirrored in modern ideological systems regarding trust in authority. 
Codes and conventions perhaps deliberately stereotyped for intertextual effect rather than accurately reflecting reality of the time – to recreate the world of 1980s films – this may suggest more polysemic reading and invite historical comparison to other famous cultural and media texts by audiences. 
Episode reflects continuing success of streaming services such as Netflix, who need to maintain their brand with innovative and original programming and therefore integrate high end production values to support their ideological business model in favour of simply reflecting reality/normality. Thus, appealing to a range of audiences with different cultural capital.