A Level Case Study for Stranger Things

2. Audience
Primary- Netflix subscribers who watch similar teen
dramas (15-30)
Secondary- Sci-fi/fantasy fans
‘Box Set’ watchers who grew up in the 80s
Tertiary- Non-Netflix subscribers (teens 14-18)
Movie fans
Mainstreamers
Winona Ryder, Big
80s star. Targets
people who grew
up with her as she
is recognisable.
Serif, bold font. Luminous red, ominous.
New and exciting, appeals to fans of other
Netflix shows.
TV box set watchers/ binge
watchers.
Unusual dress codes and
pose. Enigma code adds to
sci-fi element.
Danger, adds to
mystery
Enigma, who is the figure?
Intertextuality:
Bikes and moon-
ET
Intertextuality: sketched, reminiscent of Star
Wars. Appeals to 80s kids, plays on
expectations.

3. Trailer
The trailer comes up with the Netflix logo at the beginning and features it in the corner throughout the trailer, appealing to fans of other Netflix shows. It starts off
without dialogue and has light piano music, creating an ominous atmosphere, appealing to the audience as it makes them want to find out more. It features Will’s
disappearance, creating an enigma code as the audience will want to find out what happened to him. The build up to a crescendo in sound adds to the dramatic
atmosphere and is paired with shots of the action. The trailer repeatedly fades to black and juxtaposes light and dark scenes, making reference to binary oppositions and
appealing to the audience as hints about the narrative are given. It features Winona Ryder, one of the only ‘stars’ in the series, which will appeal to audiences who grew
up in the 80s and recognise her. The fragmentation of the title sequence throughout the trailer also builds up the tension as the audience are not sure what to expect, this
appeals to them as it shows the series to be thrilling and suggests that they will enjoy it.
VR Basement
The VR basement appeals to established fans of Stranger Things as they are aware of the setting. It allows them to experience what it is like in the Buyers’ house and to
feel the fear when the Demogorgon appears. It appeals to fans because they feel included in ST and are able to relate to their favourite characters more. The use of ‘only
on’ makes the experience feel exclusive and as if the audience are a part of a special group, creating a ‘we-feeling’. There are also videos of the ST cast taking part in the VR
which appeals to the audience as they have shared experiences.
Instagram
The ST Instagram has 6 million followers and is a verified account. The gram has clips, fanart, Interviews and more. This targets the
audience as there is a feeling of inclusion and exclusiveness as they are able to get more information than just by watching the
series. It also promotes the series, which targets fans as they are able to get info first and can keep up to date.

4. Critics
Critics had a largely positive response to ST such as on The New York Times as they praise Netflix for delivering an ‘Eerie nostalgic fix’. Critics
also comment that it ‘lives up to the hype’
Audience
ST have a Rotten Tomatoes score of 94%, showing a positive response from the general audience. There are many examples of user-generated content,
conforming to Jenkins’ theory about prosumerism. There are a lot of dedicated ST fans such as on the ST wiki page, comments are left which encourages
interaction. There is much prosumer content such as fan art and videos, which allows the audience to feel a part of a community and able to go further than just
watching the show. In 2017, Stranger Things moved up three places, ranking eighth in the Top 30 "most reblogged" live-action television show on Tumblr.
They have a growing fandom and the show is commonly talked about online.
Uses and Gratifications
•Identify: there are a range of characters in ST from teens to parents to authority figures, allowing many to identify with the characters. Audiences from the 80s
can identify with the characters they would have related to back in the 80s through the mise en scene, dress codes and the personalities of the characters.
Similarly, contemporary audience can still relate to characters, even though they’re based in the 80s, as some of their struggles are universal, such as being an
outcast, worrying about children or thinking about boys.
•Entertain: ST appeals to sci-fi and fantasy fans as it follows many conventions such as the monster and jump scares. It also appeals to 80s movie fans as there is a
lot of intertextuality in the series, such as references to ET and many Stephen King films.
•Interaction: As St was such a hit, so many people were talking about it, allowing there to be more opportunities for social interaction. The online community also
promoted conversation on websites such as Facebook, Tumblr and Twitter, allowing for fans to come together.
•Education: In some aspects, ST could educate the public on life in the 80s as the setting makes many references to the culture (especially nerd culture) of the 80s.

5. Full of energy: Playing
D&D for 10 hours.
Outcast: Health issues add to
his outcast persona, creating
sympathy for him.
Trouble-maker: Narrative
– steals chocolate
pudding, not closely
sticking to ‘the plan’,
swearing frowned upon.
Scruffy: Dress codes – same
hat, layered clothing very
similar each episode. Caps
connote teenagers and bad
behaviour.
Awkward: ‘Oh my God’ when 11 starts to
get undressed, audio codes – repetition.
Independent: Mise en scene
of bikes allows him to
travel freely without
parents’ permission
Caring: Narrative – offers last
slice of pizza to Nancy.
Awkward around girls.
Togetherness:
Camera frames all
of the group.
Cheeky: Use of dialogue creates
humour – ‘she’s our friend and she’s
crazy!’

6.  Stanger Things collaborated with the Oxford Circus Topshop in order to promote their new series by turning it into the Upside Down.
This will attract the Primary Audience of Stranger Things, who are young fans aged 15 -30, because they are likely to fit into Topshop’s
primary audience, as they produce new clothing styles regularly and this may attract ne Topshop also produced a line of products that
are Stanger Things themed to attract viewers of the show, as well as a ‘STRANGIFY’ button which allows audiences to turn the website
page into the upside down, the products also turn upside down and go black and white unless you hover over them. w views of Stranger
Things from people who regularly shop at Topshop.
 They also partnered with Eggos, Reebok and Spotify to create a nostalgic 80s tone.