Long Form Tv Drama is defined as a high concept narrative with complex characters and storylines that develop across a number of episodes in a narrative. This is evident in both stranger things (st) and Deutschland 83'.
In terms of industry context, it is important to understand that ST was produced by the Duffer Brothers and sold to Netflix, after being rejected bye 12 different cable TV producers. This is symbolic because Netflix have a good guaranteed subscription, which means they do not have to worry about audience fight like D83. More importantly, Netflix are also very lightly regulated due to their HQ being located in Amsterdam, Netherlands, whom have very different rules to the UK, therefore ST has creative freedom to produce content that has a range of complexity. On the other hand, D83 has co-produced by RTL and ABC networks with Sundance TV, between Germany and America, however broadcasted on Channel 4 and All4 in the UK. Channel 4 has a reputation for showing diverse LFTVDS which are aired at an intelligent ABC1 demographic, whom are culturally aware and totally fluent with events such as the Cold War in D83. In terms of regulation, D83 was regulated by OFCOM, which meant that D83 had to shown at 9pm watershed due to its content.
Regarding cultural context, ST was set in the 1980's in a Spielbergian culture, still through the codes and conventions of Mine En Scene, as the experience large houses living the 'American dream' linking to the Spielbergian culture of themes of the supernatural, which is central to the LFTVD. In terms of intertextuality it is evident that there are references to Spielbergs films such as ET, particularly shown in the opening scene as the upward camera introduces the title in the same fashion that Spiel burgs ET did. With young people being the protagonists in this LFTVD, this provides intertextual references to 'Super 8' ; also explaining the media language of low camera angles ; replicability a Childs view of the world.
Whereas, in D83, the cultural context of the 1980's differs dramatically as we are in the height of the conflict between the East and West. This context highlights political ideologies of communism and capitalism, which is shown in the opening montage of president Ronald Reagans 'evil empire' speech, this creating a emotional and historical impact as the audience as this was a real clip from his speech.
Symbolically, this opening scene is anchored with the backing track of 1980's pop culture such as Frankie goes to Hollywood as well as the closing scene with New Orders 'Blue Monday' a techno beat which symbolises German music, this creates a nostalgic effect on the audience.
Significantly, Neale's theory of genre is central to LFTVD as we experience 'genre infirmity' in both ST and D83. This is highlighted in ST as a sci fi/ horror genre as the codes and conventions of dark music combined with staggering lights and jump scenes such as the opening scene in Hawkins Lab, partnered with Will's first sight of the 'Demogorgan'. In D83' it is indicated that this is a spy/thriller genre shown through the intertextuality of spy films as well as Bond films due to the credits coming after the opening in East Germany the same way in Bond. However, we understand that this is a thriller as well due to the theme of the Cold War shown through the divide between East and West Germany in the middle stages of episode 1.
Regarding audiences it is paramount to discuss the effect of identity according to Gauntlet whom suggests that the media provides us with characters that help us construct our own identities. In ST, the audience take a particular liking to 'Barb' as shown through the Twitter campaign 'justice for barb' as the audience has the belief that they were similar to her by playing the supporting friend role, as she is sidelined by best friend Nancy when Steve Harrington acts as Nancy's boyfriend. This highlighted within the setting of school using cross- cutting and tracking shots of Barb and Nancy. It is also evident here that we are given a binary opposite between Nancy and Barb, according to Levis - Strauss of as they are two very different characters with different personas e.g. Nancy being beautiful and popular whereas Barb being lonely and stereotypically unattractive , which is why the audience have a loving attitude towards her as they feel both sympathy and empathy.
On the other hand audiences in D83 responded negatively to the LFTVD due to the essence of the Cold War having an emotional effect on the audience. This is because of the history that Germany has now, compared to the binary opposites in 1980's. Levis Strauss' theory explains these binary opposites further in the Tobias Tischibber scene, after Martin Rauch is drugged and kidnapped. This scare is portrayed by using fast-paced editing of direct comparisons between East and West Germany, such as variations like 'supermarkets'. This binary opposite is also experienced in the scene where Rauch finds himself surrounded by colours of fruit in West Germany, compared to the depressing, bleak location of East Germany. The mise en scene of c costumes also changes here as Martin wears a dark green/ grey suit in the East, which is contrasted with the red t shirt and white shoes in the modernistic culture of the west.
Therefore, this LFTVD was more popular in America as the codes and conventions represented the west as the 'best' side of the world, giving a split effect on audience enjoyment.
On the other hand audiences in D83 responded negatively to the LFTVD due to the essence of the Cold War having an emotional effect on the audience. This is because of the history that Germany has now, compared to the binary opposites in 1980's. Levis Strauss' theory explains these binary opposites further in the Tobias Tischibber scene, after Martin Rauch is drugged and kidnapped. This scare is portrayed by using fast-paced editing of direct comparisons between East and West Germany, such as variations like 'supermarkets'. This binary opposite is also experienced in the scene where Rauch finds himself surrounded by colours of fruit in West Germany, compared to the depressing, bleak location of East Germany. The mise en scene of c costumes also changes here as Martin wears a dark green/ grey suit in the East, which is contrasted with the red t shirt and white shoes in the modernistic culture of the west.
Therefore, this LFTVD was more popular in America as the codes and conventions represented the west as the 'best' side of the world, giving a split effect on audience enjoyment.
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