The document explores the representation of social, cultural, and historical contexts within long-form television dramas, focusing on the differences across countries, particularly through examples like 'Stranger Things' and 'Deutschland 83'. It discusses how intertextuality, genre conventions, and audience interpretations shape the narratives and portrayals within these shows, highlighting the varying ideologies and values represented. The analyses suggest that while these dramas reflect specific historical settings, they also employ modern subversions to appeal to contemporary audiences.

1. SOCIAL AND HISTORICAL
CONTEXT
LFTVD

2. LFTVD QUESTIONS
SAMPLE 01: Why do long form television dramas from different countries offer different representations?
SAMPLE 02: ‘Representations of social, cultural and historical events can vary within long form television
dramas from different countries.’
Discuss how and why audiences might respond to and interpret these representations differently.
Q. 2019: The differences in the codes and conventions of long form television dramas reflect the different
values, attitudes and beliefs of the audiences that consume them.’ How far do you agree with this
statement?
Q. 2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all use
intertextuality in the same way.’ How far do you agree with this statement?
Q. 2021: ‘Audiences and producers no longer find the concept of genre relevant to long form television
drama.’ How far do you agree with this statement?
Q. 2022: ‘Long form television dramas produced in different countries always incorporate the dominant
conventions, viewpoints and ideologies of those countries.’ How far do you agree with this statement?

3. LFTVD QUESTIONS
SAMPLE 01: Why do long form television dramas from different countries offer different representations?
SAMPLE 02: ‘Representations of social, cultural and historical events can vary within long form television
dramas from different countries.’
Discuss how and why audiences might respond to and interpret these representations differently.
Q. 2019: The differences in the codes and conventions of long form television dramas reflect the different
values, attitudes and beliefs of the audiences that consume them.’ How far do you agree with this
statement?
Q. 2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all use
intertextuality in the same way.’ How far do you agree with this statement?
Q. 2021: ‘Audiences and producers no longer find the concept of genre relevant to long form television
drama.’ How far do you agree with this statement?
Q. 2022: ‘Long form television dramas produced in different countries always incorporate the dominant
conventions, viewpoints and ideologies of those countries.’ How far do you agree with this statement?

5. SOCIAL
AND
HISTORICAL

6. SOCIAL
AND
HISTORICAL
‘Stranger Things’ is set in 1980s America, but the
accuracy of depiction of the era (even its small-town
setting) is questionable because it is more of an
homage/tribute to cinema and in particular the work
of Spielberg in the late 70s and early 80s.
The Duffer brothers were born in 1984, so they are
clearly not calling on real historical experience,
instead, they are developing an historical setting
that is shaped by nostalgic exploration of 1980s
America.
This extensive use of intertextuality means that the
depiction of the historical setting mirrors the
traditional family values that build on the myths and
iconography of the American Dream that
characterises Spielberg's work. For example, the
nuclear family, picket fences, green lawns, nerdy
boys on bikes.
We could argue that the exploration of gender
relationships is historically accurate in that it depicts
the pressures of gender relations coming under strain
as traditional ideological systems were being
challenged.
However, this may be an example of the Duffer
brothers bringing in modern representational
subversions to counter the patriarchal 80s American
society and appeal to a modern audience. For
example, Joyce is a single parent working mother
struggling to hold her family together, but she is
determined and forceful, influencing Hopper to look
for Will. We cannot lose sight of the possibility that
this may be a generic convention being repeated by
the Duffer brothers, after all the determined
mother is a well-known trope of Sci Fi fiction.
Nancy subverts cultural and social codes and
conventions, possibly embracing a fourth-wave
feminism perspective: she anti-stereotypically excels
at science while still fitting stereotypes of teenage
girls, hence her role is somewhat atypical for the
genre. Eleven’s androgynous appearance in the
episode may reflect the fluidity of gender which may
be recognisable by modern audiences.
The 1980s setting may also reflect the influence of
social anxieties about consequences of scientific
experimentation (Reagan’s “Star Wars”) as well as
post-Watergate mistrust of government/authority
and “conspiracy theory,” elements that are codified
through use of shadowy, sinister agents. This genre
trope also has global recognition for international
audiences.

7. THEORY

8. THEORY
BARTHES points out that meaning is created by signs through connotation,
which may naturalize dominant values and ideologies, reflecting social
conventions. The establishing shot of the Wheeler house in the opening
sequence is an example of the way signs work as myths. It suggests ideas
of family and home, that construct the myth of the nuclear family as a
social norm. TODOROV would argue that this is established as the social
norm because it represents equilibrium, and that the disruption to this
equilibrium reinforces the social anxiety around the perceived breakdown
of the nuclear family represented by Will’s kidnapping.
BARTHES can also be applied to the way that myths about gender
are constructed. For example, in the sequence that introduces
Hopper, the signifiers such as his badge, gun, uniform, and the
empty beer cans all suggest values and ideological messages
around power and masculinity.
BAUDRILLARD theorises that simulations lead to a state of
hyperreality. Stranger Things relies on signifiers (mise en scene
and music) to construct its hyperreal diegesis, even using
Leica Summilux-C lenses to recreate the visual style of
Spielberg’s late 20th-century classics (Goonies, E.T. etc). One of
the pleasures of watching Stranger Things is nostalgia, but it is
nostalgia for the simulacrum of family, adventure, camaraderie,
the Spielbergian American Dream. There is no attempt to present
realistic representation of 1980s America, so any social commentary can
only really be read as symbolic.
Applying GERBNER might lead us to conclude that ‘Stranger Things’
reflects a range of social values in relation to areas such as gender roles
and the family and that its depiction of social norms can be seen as an
example of mainstreaming although the complexity of representations
and the different ways in which audiences may engage with these
representations would arguably limit their impact upon the audience.
Indeed, GAUNTLET would likely point out that the variety of different
representations across a range of ages, genders, ethnicities and
sexualities means that audiences may use the show to
help them construct their own identities. Indeed, this is a
significant factor in most LFTVDS; as the long form drama
as the genre lends itself to large and varied ensemble casts.
He would likely point out that the representation of 1980s
society may suggest that identities were more fixed in the
past than they are in contemporary society, especially
around the depiction of patriarchal power and entrenched
gender norms. However, we could argue that the
representation of some social groups suggests identities
are less fixed and communicates contradictory ideas about
identity. Consider the contrasting representations of
masculinity and male identity through characters such as
Hopper, Mr Wheeler, Mr Clark, Jonathan, Steve, and Will.
BUTLER helps us to notice that Eleven does not conform to gender norms and is initially mistaken for a boy; because she has been raised in
isolation, she has not learned how to perform a normative gender role, which supports Butler’s idea that there is no essential gender identity.
As she becomes more socialised across the narrative of season one her performance of gender norms increasingly conforms to social norms.
Will is also represented as not conforming to masculine gender roles as he is described by Joyce as being more sensitive and feminine. Both
characters can be seen as examples of what Butler calls ‘gender trouble’ as they do not conform to gender norms. The way other characters
react to them shows how gender norms are policed and reinforced in the historical setting (e.g. Will being bullied). This exploration of 1980s
attitudes to gender performativity may, by contrast or by recognition, shine a light on contemporary social ideas around gender and sexuality.

9. We can also consider the significance of social and historical contexts when evaluating the relevance of genre. The Duffer
brothers were born in 1984, so their ‘historical’ setting in ‘Stranger Things’ is not based on real experience, it is shaped by a
nostalgic exploration of a hyperreal 1980s America built on generic tropes and intertextual references. BAUDRILLARD allows us
to point to its reliance on signifiers (mise en scene and music) to construct its hyperreal setting, even using Leica Summilux-C
lenses to recreate the visual style of Spielberg’s classics. We can’t really call Spielberg a genre, but the reliance on
intertextuality to shape the diegesis does point to a shared knowledge of genre between audience and producer. Applying
GERBNER might lead us to conclude that the representation of social norms around gender roles and family in ‘Stranger
Things’ can be seen as an example of mainstreaming. Again, not exactly a genre effect, but it does point to the way that
choices around TV genres can influence social perceptions. Conversely, GAUNTLET might point out that the variety of different
representations across a range of social groups allows audiences to use the show to help them construct their own identities.
This is a significant factor in most LFTVDS; it is a generic convention to feature large and varied ensemble casts, and this may
be precisely what draws some audiences to watch shows of this type. GAUNTLET may indicate that the representation of
1980s society suggests that identities were more fixed in the past than they are in contemporary society, especially around the
depiction of patriarchal power and entrenched gender norms, but the Duffer brothers bring in modern representational
subversions to counter the patriarchal society and appeal to a modern audience. For example, Joyce is a single working mother
struggling to hold her family together, but she is determined and forceful, influencing Hopper to look for Will. That said, this
may be a generic convention being repeated by the Duffer brothers, after all the determined mother is a well-known trope of
80s Sci Fi. However, Nancy subverts generic and social codes and conventions, possibly embracing a fourth-wave feminism
perspective: she anti-stereotypically excels at science while still fitting stereotypes of teenage girls, hence her role is
somewhat atypical for the genre. So, it would be wrong to conclude that audiences and producers find the concept of genre
irrelevant, but it is not entirely clear how much influence it has when considering social and historical context.
Q. 2021: ‘Audiences and producers no longer find the concept of genre
relevant to long form television drama.’ How far do you agree with this
statement?

10. SAMPLE 01: Why do long form television dramas from different countries offer different representations?
SAMPLE 02: ‘Representations of social, cultural and historical events can vary within long form television
dramas from different countries.’
Discuss how and why audiences might respond to and interpret these representations differently.
Q. 2019: The differences in the codes and conventions of long form television dramas reflect the different
values, attitudes and beliefs of the audiences that consume them.’ How far do you agree with this
statement?
Q. 2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all
use intertextuality in the same way.’ How far do you agree with this statement?
Q. 2022: ‘Long form television dramas produced in different countries always incorporate the dominant
conventions, viewpoints and ideologies of those countries.’ How far do you agree with this statement?
HOW WOULD YOU ANSWER THE OTHER QUESTIONS?

12. SOCIAL
AND
HISTORICAL
Like ‘Stranger Things,’ D83 has an historical setting and
makes use of signifiers like music and mise en scene to
establish its diegesis. We could argue that this may evoke
nostalgia, but unlike ‘Stranger Things’, which relies on
intertextuality to develop a hyper real historical diegesis,
D83 makes a clear attempt to construct a version of
reality that, at least, feels historically accurate.
Historically, the series shows events before the
collapse of Berlin war and the contrast between life
in the East and the West. It represents contrasting
German ideologies at the time which are encoded
throughout, although unconventionally the audience
is positioned with “the other,” a communist
protagonist pitted against a NATO antagonist.
Historically, it deals with significant Cold War
events, particularly Operation Able Archer, but
also represents the social anxiety of modern
Germany facing up to its past. The episode explores
the historical trauma of German division and
reunification: the East is poor, controlled and firmly
ideological, the West is rich, free but self-doubting, and
the complex and ambiguous representations in
Deutschland 83 reflect the difficulties faced by Germany
in coming to terms with its divided past.
Unlike the Duffer brothers, Jorg Winger who co-wrote
D83, served in the West German military and was
responsible for intercepting and decoding GDR (East
German) communication. In an interview with the
Goethe Institut, Winger explained that they also
undertook extensive research, reading declassified
documents and interviewing the ambassador to the
GDR who served in 1983. As result, D83 has rightfully
garnered praise for its focus on historical accuracy.
In the same interview Winger has also pointed out
that he thinks that Germany has become a much
more modern, open and relaxed country. He explains
that the Edel family in the series depicts a veryrealistic
commentary on German society of patriarchal family
structure that, which is a realistic depiction of how it
was in the 1980s: parents were strict, they were the
children of Nazis and wanted to be good democrats
but they still ruled in an authoritarian way. And then
there were their children, who rebelled against them.
Winger also explains that Germany is talked about in a
different way these days; in the beginning, many
conversations ended up being about the Holocaust.
Germany would often be discussed with a negative
undertone, but Germany’s image has turned into
something positive which is probably also down to the
changes in the European political landscape, making
Germany a much more powerful player in the world.

13. THEORY
BARTHES points out that meaning is created by signs through connotation,
which may naturalize dominant values and ideologies, reflecting social
conventions. In the sequence which introduces Martin to West Germany,
signifiers such as the Puma T Shirt, Adidas Trainers and Levi’s 501s all help
to connote the historical diegeses, but they also suggest values and
ideological messages around identity within a capitalist society. During
his ‘escape’ he runs into a supermarket, filled with shelves of brightly
coloured products and most importantly an abundance of fruit.
Like the wheeler house, these signs work as myths, communicating
the ideological message that the West is a place of abundance.
However, the soundtrack features the song ‘Sweet Dreams’
which bemoans the consumer capitalist focus on choice,
suggesting it is empty and unfulfilling. This may be a comment
on the difficulties faced by Germany in coming to terms with its
divided past.
​HALL would point out that the social groups represented
in D83 construct a representation of a predominantly white,
patriarchal, heteronormative society. Numerous social groups
are absent from positions of power in West Germany
(e.g. gay characters, female characters – thought the American
general is black) which may suggest an historically accurate
patriarchal ideology at work. However, this is challenged by the
representation of Lenora as the ruthless and highly respected leader of the
HVA in West Germany. We might assume this is similar to the Duffer
brothers bringing in modern representational subversions to counter the
patriarchal society and appeal to a modern audience, but D83’s
commentary on gender may be intended as a historically accurate socio-
political reference to the difference between capitalist patriarchy in the
West and the more egalitarian communist system which has clearly
promoted a woman to a position of power. On the other hand, Lenora may
be a generic trope found in espionage thrillers; her ruthlessness is certainly
reminiscent of Judy Dench's M.
Applying GERBNER to D83 suggests some interest things about social
and historical context. Like Stranger Things, we could argue that D83
contributes to mean world syndrome through its depiction of violence,
especially given that the perpetrators seem to feel almost casual about
it. We could even argue that it perpetuates mean world syndrome by
constructing a narrative that depicts NATO in the role of villain.
Gerbner’s work would likely point out that this type of depiction may
reinforce cynical mistrust of Western values. However, D83’s
depiction of a communist hero notably defies genre conventions;
therefore, it could be argued that it actively works against
mainstreaming and offers a vision of the political and
historical context that might lead audiences to a nuanced
understanding that makes mean world syndrome difficult to apply.
,
. HALL points out that genre conventions are used by producers to
construct preferred meanings. For example, D83 uses genre
conventions to encode a sympathetic representation of its
protagonist. Tropes like the sick mother and sequences like the
training montage encode a preferred reading of Martin as a
devoted son on a hero’s journey. This subverts the conventional
narrative of a NATO hero, and applying Hall allows us to predict
that the audience’s situated logics will impact the reading,
accepting, rejecting, or modifying their response, perhaps based
on their national identity or lived experience of the historical context
period. This foregrounds the significance of genre within Hall’s
theoretical framework and of the influence of historical context in
shaping audience reading. The German release of the show was
unsuccessful, perhaps because the lived experience of audiences may
have prompted uncomfortably oppositional socio-political readings.
However, it was well received by U.S. and U.K. audiences, whose
distance from the nation of origin and the historical context may have
allowed more dispassionate negotiated readings of the text.

14. Unlike the Duffer brothers, Jorg Winger who co-wrote D83, served in the West German military during the Cold War
period and extensive research has rightfully garnered the programme praise for its focus on historical accuracy.
Applying BARTHES allows us to look at the use of signifiers such as the Puma T Shirt, Adidas Trainers and Levi’s 501s
to construct the historical diegeses, but also to connote values and ideological messages around the social context in
the capitalist West. During his ‘escape,’ Martin runs into a supermarket, filled with brightly coloured products and
shelves of fruit. Like the Wheeler house, in ‘Stranger Things’ these signs work as myths, communicating the
ideological message that the West is a place of abundance. However, the soundtrack features the song ‘Sweet
Dreams’ which bemoans the consumer capitalist focus on choice, suggesting it is empty and unfulfilling, perhaps a
comment on Germany’s difficulty in facing up to its divided past. The extended run time of LFTVDs lend themselves to
this nuanced exploration of social, political and historical contexts, and this type of nuanced exploration is arguably a
generic convention of many such Long Form Spy Thrillers. HALL might point out that D83 constructs a representation
of a predominantly white, patriarchal, heteronormative society. Marginalised social groups are absent from positions
of power in West Germany which may reflect an historically accurate patriarchal society. However, this is challenged
by the representation of Lenora as leader of the HVA. We might assume this is similar to the Duffer brothers bringing
in modern representational subversions to appeal to a modern audience, but D83’s commentary on gender may be
an historically accurate socio-political reference to the difference between capitalist patriarchy in the West and the
egalitarian Communist system which has promoted a woman to a position of power. On the other hand, Lenora may
be a generic trope found in espionage thrillers; her ruthlessness is certainly reminiscent of Judy Dench's M. The
Wingers may have chosen their socio-historical messaging to appeal to generic conventions understood by both
German and international audiences, but it really isn’t clear whether this is their motivation.
Q. 2021: ‘Audiences and producers no longer find the concept of genre
relevant to long form television drama.’ How far do you agree with this
statement?

15. SAMPLE 01: Why do long form television dramas from different countries offer different representations?
SAMPLE 02: ‘Representations of social, cultural and historical events can vary within long form television
dramas from different countries.’
Discuss how and why audiences might respond to and interpret these representations differently.
Q. 2019: The differences in the codes and conventions of long form television dramas reflect the different
values, attitudes and beliefs of the audiences that consume them.’ How far do you agree with this
statement?
Q. 2020: ‘Long form television dramas lack originality; no matter which country they are made in, they all
use intertextuality in the same way.’ How far do you agree with this statement?
Q. 2022: ‘Long form television dramas produced in different countries always incorporate the dominant
conventions, viewpoints and ideologies of those countries.’ How far do you agree with this statement?
HOW WOULD YOU ANSWER THE OTHER QUESTIONS?