STRANGER THINGS - NARRATIVE AND GENRE
Genre
Long Form TV Drama is a media form with specific codes and conventions that help us recognise it as such.
1. What are the formal codes and conventions of Long-Form TV Drama?
Within long form TV drama there are often minimal central characters unlike soap television where many characters are included within the main plot. The main plot of a long form TV drama is typically an issue which needs to be resolves, as well as smaller sub-plots which run along the main plot line. Long form TV drama also has multiple episodes in each season, usually at least ten episodes. These seasons do sometimes run into each other, with plots linking u, however story lines can also be limited to a season. Even though the title refers to television, long form TV dramas are also shown on streaming services such as Netflix.
Typically, long form TV dramas open with an establishing shot, or an extreme long-shot, which show an environment that will later be revealed. These environments often have links with the supernatural, creating mystery for the audience and many elements of the opening remain unknown until later on with a season. This is also due to the opening sequences often existing in the future of the dramas plot, hence then becoming clear as the audience watches through the episodes.
Within long form TV drama, title credits are often used either at the beginning of an episode or after the opening sequence. These typically have science fiction themes, using fonts and colours to match this. For instance, in Stranger Things, bold, red lettering moves around the screen until forming the title, this runs alongside a supernatural and eery soundtrack.
2. How similar or different are the formal conventions used in Stranger Things?
Within episode 1 of Stranger Things many characters are introduced briefly, however only a small number of these are introduced in detail. This links in with the main plot slowly forming, as well as the sub-plots running alongside, involving different characters. For instance the sub-plot of Nancy and Steve's secret romance which will later combine with the main plot. Similarly, an issue which needs to be resolved is introduced in the first few sequences of the episode, even though this is unknown still to the audience, it is still identified as a problem, again involving the supernatural. Stranger Things is shown purely on the streaming site Netflix, and so isn't actually shown on traditional television. Hence all these points show that Stranger Things fits typically with the conventions of long form TV drama.
As stated above, the opening sequence of Stranger Things shows a laboratory where an issue has occurred, with a scientist shown running from something which is left unknown to the audience. Hence it is clear from the off-set that this problem will follow the main plot of the season, and eventually being resolved to an extent.3. How does this help to develop the genre and the way in which audiences respond (positively or negatively) to long form TV dramas?
If the genres of long form TV dramas stays constant throughout different texts then they are more likely to have a positive response from the audience. This is due to long form TV drama following a favourable set pattern, hence audiences will expect a pattern of genre, such as science fiction or horror. This will also help to develop the genre sets further as new ideas can be brought in without having to change up the style of the genre itself.
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4. What codes and conventions are used to help audiences recognise their genre?
A genre is a type or category of a media product, which acts as an unwritten agreement between producers and audiences. Hence within genres there are set codes and conventions which are followed within each genre. For instance, in the science fiction is typically categorised by being futuristic, technological and being post-apocalyptic. From these conventions, audiences are able to identify which genre they are watching. Neale's theory of 'repetition and difference' states that genre is a repetition with an undenying pattern of variables, and this different is absolutely essential in the economy of genre. He also stated that genre can be defined by two things. Firstly, how much it conforms to its genres individual conventions and stereotypes, hence a film must match the conventions to be part of a genre. Secondly, how much a film subverts the genres conventions and stereotypes, hence a film must subvert convention enough to be considered unique and not just a done of an existing film.
5. How may 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:
Long Form TV Drama is a media form with specific codes and conventions that help us recognise it as such.
1. What are the formal codes and conventions of Long-Form TV Drama?
Within long form TV drama there are often minimal central characters unlike soap television where many characters are included within the main plot. The main plot of a long form TV drama is typically an issue which needs to be resolves, as well as smaller sub-plots which run along the main plot line. Long form TV drama also has multiple episodes in each season, usually at least ten episodes. These seasons do sometimes run into each other, with plots linking u, however story lines can also be limited to a season. Even though the title refers to television, long form TV dramas are also shown on streaming services such as Netflix.
Typically, long form TV dramas open with an establishing shot, or an extreme long-shot, which show an environment that will later be revealed. These environments often have links with the supernatural, creating mystery for the audience and many elements of the opening remain unknown until later on with a season. This is also due to the opening sequences often existing in the future of the dramas plot, hence then becoming clear as the audience watches through the episodes.
Within long form TV drama, title credits are often used either at the beginning of an episode or after the opening sequence. These typically have science fiction themes, using fonts and colours to match this. For instance, in Stranger Things, bold, red lettering moves around the screen until forming the title, this runs alongside a supernatural and eery soundtrack.
2. How similar or different are the formal conventions used in Stranger Things?
Within episode 1 of Stranger Things many characters are introduced briefly, however only a small number of these are introduced in detail. This links in with the main plot slowly forming, as well as the sub-plots running alongside, involving different characters. For instance the sub-plot of Nancy and Steve's secret romance which will later combine with the main plot. Similarly, an issue which needs to be resolved is introduced in the first few sequences of the episode, even though this is unknown still to the audience, it is still identified as a problem, again involving the supernatural. Stranger Things is shown purely on the streaming site Netflix, and so isn't actually shown on traditional television. Hence all these points show that Stranger Things fits typically with the conventions of long form TV drama.
As stated above, the opening sequence of Stranger Things shows a laboratory where an issue has occurred, with a scientist shown running from something which is left unknown to the audience. Hence it is clear from the off-set that this problem will follow the main plot of the season, and eventually being resolved to an extent.3. How does this help to develop the genre and the way in which audiences respond (positively or negatively) to long form TV dramas?
If the genres of long form TV dramas stays constant throughout different texts then they are more likely to have a positive response from the audience. This is due to long form TV drama following a favourable set pattern, hence audiences will expect a pattern of genre, such as science fiction or horror. This will also help to develop the genre sets further as new ideas can be brought in without having to change up the style of the genre itself.
??????
4. What codes and conventions are used to help audiences recognise their genre?
A genre is a type or category of a media product, which acts as an unwritten agreement between producers and audiences. Hence within genres there are set codes and conventions which are followed within each genre. For instance, in the science fiction is typically categorised by being futuristic, technological and being post-apocalyptic. From these conventions, audiences are able to identify which genre they are watching. Neale's theory of 'repetition and difference' states that genre is a repetition with an undenying pattern of variables, and this different is absolutely essential in the economy of genre. He also stated that genre can be defined by two things. Firstly, how much it conforms to its genres individual conventions and stereotypes, hence a film must match the conventions to be part of a genre. Secondly, how much a film subverts the genres conventions and stereotypes, hence a film must subvert convention enough to be considered unique and not just a done of an existing film.
5. How may 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 (more on this later)
1. How is the episode, and the way the events unfold within it, structured?
The episode is structured in two separate parts to begin with, as the audience learn that the plots will soon become integrated. The episode begins on November 6th, 1983 in Hawkins, Indiana. This is very specific, hence aids the audiences understanding of the following plot. The Hawkins National Laboratory is then introduced, where a horror element is introduced of the unknown which also has supernatural links as nothing is ever shown to the audience as to what is chasing the scientist. A scene of him being taken by the unknown changes to a garden sprinkler outside a house in Hawkins. Here characters are introduced, a group of teenage boys who are shown playing 'Dungeons and Dragons'. This game they play soon turns to reality when Will gets 'lost in the woods' on his way home, with the boys believing something bad has happened. This theme continues throughout the episode, flashing back between the lives of seemingly 'normal' Hawking's residents and the secret on-goings of the local laboratory.
2. How does the episode begin and finish?
It begins with an introduction to Hawking's National Laboratory where a scientist is shown frantically running from something unknown and then shown to be taken by this same being. The episode ends with a group of teenage characters finding the character known as 'Eleven' in the woods. This is an ironic scene as they were looking for their lost friend Will, but end up finding someone else, hence linking the previous separate sub-plots together. This also helps to imply to the audience that 'Eleven' will become part of the friendship group the audience is introduced to, almost as a replacement of Will.
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.
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?
The use of multiple story-lines helps to attract a greater audience
as they all link to different subjects which are hence found interesting to different types of audiences, such as gender or age groups. For instance the smaller plot line following Nancy and Steve's romance will be more attractive to a similar aged teenage target market.
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?
The episode is structured in two separate parts to begin with, as the audience learn that the plots will soon become integrated. The episode begins on November 6th, 1983 in Hawkins, Indiana. This is very specific, hence aids the audiences understanding of the following plot. The Hawkins National Laboratory is then introduced, where a horror element is introduced of the unknown which also has supernatural links as nothing is ever shown to the audience as to what is chasing the scientist. A scene of him being taken by the unknown changes to a garden sprinkler outside a house in Hawkins. Here characters are introduced, a group of teenage boys who are shown playing 'Dungeons and Dragons'. This game they play soon turns to reality when Will gets 'lost in the woods' on his way home, with the boys believing something bad has happened. This theme continues throughout the episode, flashing back between the lives of seemingly 'normal' Hawking's residents and the secret on-goings of the local laboratory.
2. How does the episode begin and finish?
It begins with an introduction to Hawking's National Laboratory where a scientist is shown frantically running from something unknown and then shown to be taken by this same being. The episode ends with a group of teenage characters finding the character known as 'Eleven' in the woods. This is an ironic scene as they were looking for their lost friend Will, but end up finding someone else, hence linking the previous separate sub-plots together. This also helps to imply to the audience that 'Eleven' will become part of the friendship group the audience is introduced to, almost as a replacement of Will.
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.
- Firstly, the scene where the scientist is shown to be pulled upwards by something unknown
- The boys playing 'Dungeons & Dragons' when a 'demagorgan' is introduced to the game
- When Will tells Mike what his dice roll was, meaning that the 'demagorgan' got him
- The light flickering at Mike's house
- Will trying to use the phone at his house, and not being able to connect with anyone
- The bright light in Will's shed
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?
The use of multiple story-lines helps to attract a greater audience
as they all link to different subjects which are hence found interesting to different types of audiences, such as gender or age groups. For instance the smaller plot line following Nancy and Steve's romance will be more attractive to a similar aged teenage target market.
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?
Good level of detail here Maddie, please ensure that you finish this though. Try to include some of the key terminology that we have learnt and support your ideas with relation to theorists.
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