Stranger Thing Circulation

Stranger Things Episode 1 Representantion

LFTVD Codes and Conventions

Strauss - Binary Opposition

Strauss: Binary Opposition

• Strauss identified that we understand the world by the relationship that two opposites have together. For example, we understand bad behavior by knowing what good behavior should be.  
• He believed that narratives are arranged around the conflict of binary opposition. 
• Some of these opposition could include: 

1. man vs woman 
2. good vs bad
3. day vs night 
4. old vs new
5. rights vs wrong

Todorov: Equilibrium Theory

Todorov: Equilibrium theory

• traditional narratives follow a 3 part structure of beginning middle end which unfolds in a narrative arc of 4 phases: 

1. Exposition 
2. Introduction of conflict 
3. Climax 
4. Resolution 

• the narrative is usually a chronological and linear sequence of theme, actions and motives. 
• Todorov identified that the 3 part structure has 5 stages.

1. Narratives begin with a state of equilibrium 
2. this is equilibrium is usually disrupted by an event to create disequilibrium 
3. these is then recognition of the disruption by the central character 
4. the central character goes as an quest to overcome and restore the disruption. 
5. this quest is successful, there is a happy ending and a return to a normally on a new equilibrium. 
   

Narrative Structure

Stranger Things Episode 1

Stranger Things: 80s Films Research

Stranger Things Poster Analysis

Stranger Things Characters

Stranger Things Episode 1 Scene by Scene

LFTVD - Long for TV Drama

Network Television:

• US network broadcasters must satisfy their advertisers and hold market share. They are also controlled by federal regulation. 
• The impact of this on content is a reliance on highly formalised genre conventions and normative values which meet mainstream audience expectations but generate conservative drama. 

Cable Television: 

• launched in the 1970s, HBO was the first US national subscription cable TV channel. 
• other major US players include FX, Showtime & AMC. Many are subsidiaries of media conglomerates 
• these subscription based cable channels can take more risks with content and form. 
• by early 2000s The Sopranos and The Wire won awards, audiences and created "water cooler" TV.

UK TV Drama 

• UK broadcasters have failed to meet the challenge of the US cable channels move to long form with their risk - taking content and style.
• BBC and ITV 90s - relied on genre-based, formula drama.
• Sky co-opted success of US long form with Sky Atlantic. 
• commissioning remains tightly controlled with a conservative outlook. 

Subscription VOD (viewing on demand)

• content viewing via a TV still dominates in the UK.
• 3/4 UK households have PVR (personal video recording) uptake but it has plateaued. 
• use of time shift is increasing - you can use it whenever you want 
• growth of SVOD (streaming video on demand). we based channels such as Netflix, Amazon Prime, and NOW TV is considerable. 
• Netflix dominates with 24% of UK market & 5 million subscribers, 10% growth 2015-16

Audiences: 

• rise in binge watching started with DVD in late 90s/early C21 - partially due to syndication problem in the UK. 
• a move from "water cooler" to "shared universe" fandom (as with cinema)
• US long form drama often uses Easter eggs, and mid-season breaks to generate fan intensity and maintain a media profile. 

Why audiences love LFTVD: 

• high quality drama 
• multiple episodes, hours, years. 
• content can be dark and difficult but innovative. 
• it now attracts some of the best and innovative writers and actors.
• time shifting, easily accessible. 
• keeps people invested. 
• lots of creativity.
• characters and themes change and develop 
• lots of different networks complete. 
• the show can cater to specific taste. 

"State of Nation" TV

• LFTVD challenged the simplistic story line and stereotypical characters that dominates network TV in US. 
• Cultural Zeitgeist.

Genres: LFTVD can fit into any ( comedy, horror, thriller, mystery, drama, crime)

Themes: also can fit into any (relationships, murder power, war, coming of age, family)

Narratives: can have a vast variety of all different worlds which are completely different to normality. 

Characters: relatable and interesting to watch, engaging so they are watched over long period. 

Production Values: good ones usually range from 4 million to 5 million per episode. 

Methods/Platforms: either on terrestrial TV, cable TV, subscriptions, streaming. 

State of Nation: escapist for the viewers, not usual to their everyday life. 

Memes/Accessories: these can determine how popular the series is with the youth. 

TV Drama need: 

• various locations
• stock characters - complex, able to follow for a long period of time 
• multiple narratives.
• 1 hour episodes. 
• dramatic cliff hangers - usually at end of season/mind season breaks 
• high production values