paper 2 question 3

 introduction- sets out your main thesis and talking points.

3-4 points backed up by evidence that covers CRAIL

a counter argument to your thesis, again, with evidence

a clear conclusion



'intertextuality is essential for long form television dramas to appeal to both domestic and international audiences'

How far do you agree with this statement?


introduction planned last

use point paragraphs to work through CRAIL so you don't miss any of it


P1: context

social and cultural

stranger things: heavy use of 1980's nostalgia, referencing Spielberg, Stephen king and dungeon and dragons 

Lupin: intertextuality links to Arsene Lupin, a famous literacy character, and classical French crime dramas

Analysis: how references create audience familiarity appealing to domestic and international


Historical and political

Stranger things: cold war, government conspiracy  e.g. MK ultra

Lupin: French colonial history, race and social class


representation in stranger things: the 80's: dungeon and dragons, 80's style and hair, diners, school bullying

representation in Lupin: Omar Sy playing Assane


Audience

national vs international

stranger things: nostalgia for American audiences, yet also universal themes of friendship, adventure and mystery

Lupin: French culture yet globalised Netflix storytelling and heist conventions

analysis: may boost appeal

use of intertextuality

stranger things: familiar tropes from E.T, the goonies, sci- fi horror

Lupin: sherlock holmes style, Ocean's Eleven heist elements 

analysis: intertextuality is a tool, not the only factor


Industry

A show being a Netflix original improves the viewers perception of the shows quality. It also allows for cross promotion with big brands like the rerelease of new coke with the release of Stranger things

refer to Hesmondhalgh when talking about industry. Netflix love to be safe and conventional with their shows

Lupin uses subtitles to appeal to a larger audience 

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