April half term revision

 LFTVDs

Stranger things

media language and narrative 

Genre hybridity: Show is a mix of 1980's sci fi, horror and coming of age stereotypical basis used in popular movies during the 1980's

Use Steve Neal's Genre theory to argue repetition of tropes mixed with differences made by Netflix to make binge watching possible

Intertextuality: Hyper real vision of the 1980's built from media of the time like Spielberg films rather than reality. 

Links to Baudrillard's Postmodernism


Technical codes

Sound: Synth heavy soundtrack and 80's pop music establishes mood and built in nostalgia 

Visuals: Use of binary opposite lighting for Upside down vs real reality Levi- Strauss's binary opposition (safety vs danger)


Narrative structure

Equilibrium: The 4 boys playing dungeons and dragons

Disruption: Will's disappearance 

Recognition: Joyce realizing Will is missing, the boys find Eleven


Representation 

Gender

Joyce Byers: Challenges stereotypes of women being weak through her search for Will though she is initially seen as mentally unstable by people in Hawkins and Male authority

Nancy Wheeler: Represents the princess architype and stereotypical women representation. However, subverts this through her intelligence and focus on her future

Eleven: 'Damsel in distress' that actually holds the most power


Age/ Authority: Adults like Chief Hopper shown as oblivious and ignorant of the situation.

Kids act quickly representing the 1980's coming of age adventure trope seen in goonies


Social Class: Stereotypical nuclear family of Wheeler family contrasted with the single mother working class Byers, reflecting 80's American social hierarchies 


Media Industries

Production contexts: Produced by 21 Laps for Netflix $6million per episode high production cost allowed for stars from 1980's like Winona Ryder

Netflix subscription: Uses a subscription model with full seasons released at once, however this changed for season 5

Regulation: Not regulated by bodies like OFCOM allowing for more freedom


Marketing: Uses marketing targeting nostalgia for the set time to draw in older audiences

Partnerships with Hasbro and games like Fortnite to sell merchandise 


Audiences

Primary audience: People who grew up at the time, this would also draw in younger audiences through parents showing it or the coming of age story.

Audience theory: 

Henry Jenkin's Participatory Culture: Fans engage with prosumer content like fan wikis, and #Justiceforbarb movement

Stuart Hall Reception theory: Most audiences take a preferred way of consumption, whilst small groups take oppositional reading 

Gerbner's cultivation theory: Depictions of government conspiracy can contribute to mean world syndrome


Lupin


Media language and Narrative

Genre hybridity: Show is 'Mystery thriller' that blends crime heist, drama

Use Steve Neal's Genre theory to talk about how it blends repeated heist tropes with a gentleman thief

Non- Linear narrative: Large amount of flashbacks for storytelling to make us route for Asane diop and highlight the undertones of facing the issue of racism 

Intertextuality: Assane is inspired by Lupin a fictional book character creating a postmodern layer

Binary opposition: story based on poor vs wealthy and justice vs corruption


Representations

Race and Post-colonialism 

Assane diop (Omar Sy): He uses his identity as a black man to become invisible in roles like janitor critiquing French race bias 

Paul Gilroy theory: Show highlights minorities as seperate from wealthy white people and the power struggle this creates

Social class: Extreme difference between immigrant Diop family and Pellegrinis

Gender: Female characters shown through male gaze and are objectified, however Assane's wife is portrayed as a strong single mother subverting these stereotypes

Assane's ex wife also gives a contrast to his high stakes life


Media Industries

Netflix distribution:Released worldwide in multiple languages to reach more audiences, it became one of the highest viewed non-English series on Netflix

Production contexts: Produced by Gaumont Television a major French studio 

Uses the same binge watching friendly approach to releases as Stranger Things allowing audiences to consume at their own pace attracting more viewers


Audiences

Targeting strategy: Targets a broad, global audience with the gentlemen thief aspect (attracting French audiences wanting the adaptation of Lupin) and crime thriller (attracting wider audiences) 

Audience reception: 

Preferred reading: Seeing Assane as a anti hero fighting injustice

Negotiated reading: Enjoy heist thrills but question morality of Lupin's actions


NEWS


The Guardian


Ownership and funding

The scott trust: Owned by the trust, not a billionaire or shareholders

Mission over profit: The trust ensures editorial independence and keeps the paper's liberal values intact

Financial model: Uses unique 'membership' scheme relying on donations through website rather than paywalls

Global reach: Operates Guardian US and Guardian Australia to subsidise the UK edition


Newspaper Context

Brand identity: Serious, high brow (broadsheet) journalism

Target Audience: 'Pro- social', educated, ABC1, liberal leaning audience often working in public sector or creative industries

Political stance: Left leaning, socially liberal, and progressive (supporter of LGBTQ+ rights, environmentalism, and social justice) 


Digital first stratergy

Open Journalism: Encourages reader participation through comments and 'The Guardian Witness' (User generated content)

Platform Neutrality: Content is designed to look good on the app, website, and social media

Interactive media: Heavy use of podcasts (Today in focus), video documentaries, and interactive data visualisations


Key concepts for exam

Gatekeeping: The Guardian prioritises 'soft' news (culture, environment, social issues) alongside hard news (politics, global conflict)

News values: Focuses on Human Interest, Elite nations, Global impact

Regulation: Regulated by IPSO (though they have their own internal readers' editor to maintain high standards)

Power and media: Compare it to right wing press e.g Daily Mail to show how different ownerships changes perspectives

 

Daily Mail


Ownership and Funding

DMGT: A massive multinational media conglomerate

Lord Rothermere: Controlled by the Rothermere family for generations, reflecting a 'press baron' ownership style

Commercial focus: Unlike the Scott trust, the Mail is driven by profit, advertising revenue, and high circulation.

MailOnline: One of the worlds most visited English- language news sites, funded heavily by  'programmatic advertising' (pop-ups)


Newspaper Context

Brand identity: A 'middle market' tabloid- combining hard news with celebrity gossip and lifestyle

Target audience: The 'Middle England'













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