STRANGER THINGS - INDICATIVE CONTENT

In the drama, the use of realism (80's America) could be questioned as the series is more of a tribute/homage to cinema. 

 The Spielberg cinematic universe may appeal to two distinctive audiences - nostalgic & contemporary.

 Modern representational subversions are introduced to help counter the realism of 80's America
- e.g. Joyce Byers is a single mother who is holding her family together through working, and also has a strong influence on Hopper
- e.g. Nancy subverts cultural & social codes and conventions (reflecting the feminism which is embraced in modern society)anti-stereotypically excels at science while still fitting stereotypes of a teenage girl.

 The idea of gender fluidity, which will be recognisable to a modern audience, can be shown through characters such as Eleven.
In episode one, representations are shaped based on nostalgic exploration of 80's America
- nuclear family 
- picket fences
- green lawns 

 Culturally references 80's films which may have improved levels of realism due to advances in technology. 


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

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