LFTVD - Deutschland 83: Homework Research Task

Task: Please research historical, economic and social/cultural context for East Germany in the early 80s? Write up a paragraph for each section and come prepared to share what you've learnt on first day back. 

Consider: What was life like? What did young people do for fun, like, listen to? What was education like? Why was there so much tension and suspicion? Why did people want to escape the East? On the other hand, why did people like and respect the Republic? What was the relationship between the citizens and the government/stasi nearing the end of the cold war? How did they view the West? 

• Life in the 80s:

1. There was a lot of surveillance, and most people lived double lives, in the sense that they learnt early that what you say and do at home is one thing, but what you're allowed to say publicly or in school is quite another.
2. For example, many people watched western television at home, but that's not something you'd explicitly mention at school.
3. Salaries were very low however life-essentials where subsidized and very cheap.
4. As a result, things like bread and rent was affordable, but whenever you needed to buy something at actual world-market-prices it was insanely expensive.
5. "Western" products where popular, books from the west where popular to the point where there'd be waiting-lists for borrowing them, and you'd get in trouble with your classmates if you held onto one for 2 days too long.
6.  Equal rights where good for the time. Most women worked. There was affordable child-care available.
7. Unemployment was non-existent -- but many people where in jobs of questionable use, in short, the state would "invent" work rather than leave people idle.

• Childhood life in East Germany in the 80s:

1. There were no bananas. You could only get them once or twice a year, and you’d only be notified of their availability by word of mouth.

2. You couldn’t buy strawberries from a store. If you wanted them, you had to go and work in the fields picking them for hours. You were allowed to buy a certain portion of the ones you picked.

3. Luxury items were priced way out of proportion to people’s salaries. A black and white TV might cost 10 times a person’s monthly salary; a 200g bag of coffee would cost around $20.

4. If you wanted to buy a car you had to wait years. Like, 10-12 years. So people who turned 16 (although you had to be 18 to drive) would put their orders in to get their mitts on a car when they were in their late 20s.

5. You could only watch one of a few state channels, but radio waves know no walls (well, except maybe lead ones), so those close to the border were able to pick up signals from the West.

6. Every child was part of the Pioneers: Grades 1-4 were Blue Pioneers, 5-7 were Red Pioneers, and grades 8-10 graduated to the Free German Youth (FDJ).

7. Her home had no bathtub or shower, only a sink and a toilet.

• The Berlin Wall:

The Berlin Wall formidably expressed the barriers between Eastern and Western views and culture. Eastern Germany was occupied under the Soviet Union and was communist, while Western Germany thrived under a capitalistic ruling. Large amounts of illegal immigration were going on as Easterners fled through other countries such as Hungary, Austria, and Czechoslovakia to the capitalist Europe and the free world. This prompted the government of East Germany to erect the wall separating the two cultures on August 13, 1961. Berliners were shocked when they woke up one morning and the border between east and west was not just a political boundary but now a physical boundary as well.

Westerners replied in an outcry of their beliefs with things such as graffiti on the wall, something that was not tolerated on the other side. While western Berliners could go up to the wall and touch it, guards prevented eastern Berliners from coming to close to the wall in fear that they were trying to escape.

President Ronald Reagan challenged West Germany and Mikhail Gorbachev in his Bradenburg Gate speech to tear down the wall and unite the two parts of the city into one. Protests in the West against the Soviet Government broke out in September of 1989, at first wanting to get out of the region and then deciding they wanted to stay but they wanted a change.  This demonstration of rebellion was heightened in the Alexanderplatz Demonstration where over half a million gathered on November 4th to protest for a change. The significant date of the fall of the wall was on November 9th, 1989 when at midnight the Communist rulers of East Germany gave the okay for the gates and checkpoints along the wall to be opened for free passage.  The wall was eventually torn down by eastern and western Berliners to physically unite the two halves of the city, with civilians taking hammers to the wall and symbolically climbing the wall to hug people on the other side. East and West Germany reunified on October 3, 1990 to form a single German state.

• The Government:

The “Volkskammer” (the “parliament”) was situated there and of course there was West-Berlin, there other side of the city where you just couldn’t get, no matter how hard you tried. At certain points in time there have been events on the western-side of the wall like concerts (Springsteen I think) so people gathered as nearby as possible and tried to listen.

LFTVD: Regulation and Long Form TV Drama - Fact-finding

Learner Resource 3

Regulation and Long Form TV Drama: Fact-finding

Regulation topic

Relevant information

Topic 1 - The regulation of global practices of production, distribution and circulation  1.)    https://www.marketwatch.com/story/what-netflix-comcast-and-others-are-saying-about-the-fccs-plan-to-end-net-neutrality-2017-11-22       2.)    https://www.forbes.com/sites/nelsongranados/2017/01/25/only-top-video-streaming-services-are-likely-to-survive-in-the-trump-era/#1cdb8af13319 3.)    https://www.reuters.com/article/us-netflix-asia/in-asia-netflix-trips-on-regulation-content-and-competition-idUSKCN0XJ0BZ

1.) The Federal Communications Commission wants to end “open internet” protections, referred to as net neutrality, as it says there were unnecessarily heavy-handed regulations. Those opposed to the reversal say getting rid of the protections will allow internet service providers (ISPs) to throttle the connection of some sites, giving preferential treatment to others at a price. The majority of those major ISPs are in favour of the FCC returning to, what the commission is calling, a “light-touch” approach to internet regulation. 2.) In 2015, the launch of HBO Now opened the floodgates for all major players in media and entertainment to launch their own stand-alone video streaming service that is not linked to a cable subscription. Since then, video streaming services are popping up so often it is hard to keep up. The top video streaming aggregators so far are proving that it pays off to have a critical mass of content and customers. Netflix, Amazon, YouTube and Hulu continue to consolidate their position in digital video distribution. Some are even competing aggressively with exclusive and original content. Netflix continues to amass global subscribers to consolidate itself as a market share leader. Last week it announced that it garnered 7 million net new members in the fourth quarter of 2016. Hulu continues its inroads to become the top service jointly owned by major studios. In 2016 Time Warner joined Disney, NBC Universal and Fox with a $538 million investment to get a 10% stake in Hulu. And this year Hulu will introduce streaming of live TV to sustain its strong position in TV distribution.       3.)    Complaints that programming libraries offered in many countries are far smaller than in the United States, the U.S. video streaming giant’s January launch into 130 new markets worldwide, including a slew in Asia. When it launched in Indonesia, Netflix ran into difficulty with the film censorship board for carrying content deemed inappropriately violent or sexual. mState telecoms company PT Telekomunikasi Indonesia Tbk (Telkom) (TLKM.JK) will block Netflix until it adheres to regulations, however, Netflix is still available in Indonesia via wifi connections and other carriers. The cost of dealing with these kinds of issues are reflected in its results, which show that Netflix suffered a first-quarter operating loss of $104.2 million for streaming video outside the U.S., partly because of higher marketing costs, and also showed that it is earning less per subscriber overseas than at home. Netflix had 34.5 million international subscribers against 47 million in the U.S. at the end of the quarter. It is unclear how many of its customers are in Asia. In South Korea, Netflix site offers fewer than 20 local TV shows or movies. Netflix Australia offered just 443 TV shows, compared with 1,157 in the United States, and had 1,585 movies, compared with 4,593 fewer than those available in Iraq, Haiti, Cuba and many other countries. Netflix has yet to win permission to enter the coveted but highly restricted China market.

Regulation topic	Relevant information
Topic 2 - The regulation of media and long form drama in the UK 1.)    https://www.theguardian.com/media/2015/oct/14/video-on-demand-ofcom-atvod 2.)    https://www.ofcom.org.uk/tv-radio-and-on-demand/advice-for-consumers/television/video-on-demand 3.)    https://www.theguardian.com/media/2016/may/25/netflix-and-amazon-must-guarantee-20-of-content-is-european 4.)    http://www.chillglobal.com/blog/posts/netflix-and-the-eu-content-regulation	1.)    Currently TV-like services delivered over the internet are regulated by a separate body authorised by Ofcom, the Authority for Television On Demand (ATVOD), which follows similar rules. However, taking on ATVOD’s responsibilities is unlikely to mean a significantly increased workload for Ofcom, as ATVOD only covers TV-like services based in the UK, such as those run by UK broadcasters and smaller niche services. TV services delivered over the internet from outside the UK, such as Netflix, are not covered by ATVOD, and YouTube, even when used to post content by UK broadcasters, also falls outside its remit. However, Amazon Prime Instant Video, which is delivered via the company’s UK subsidiary, is covered. 2.)    Video-on-demand services include TV catch-up and online film services. The platform on which these on-demand services are delivered does not matter, so services on connected TVs, apps on mobile phones and programmes you view through set-top boxes may all be regulated. Protecting the under-18s: "specially restricted material" (which has been or would be classified in the R18 category by the British Board of Film Classification (BBFC), or material which might seriously impair the physical, mental or moral development of under-18s, is made available in a way which secures that under-18s will not normally see or hear it; "prohibited material" (which would be refused a classification by the BBFC) does not appear; Incitement to hatred: they do not contain any material likely to incite hatred based on race, sex, religion or nationality; and Commercial references in programmes they comply with rules about product placement and sponsorship. There are also rules about what advertising you can see when you view a video-on-demand programme. This kind of advertising: must be readily recognisable, and cannot contain any surreptitious advertising or use subliminal advertising techniques; must not encourage behaviour that risks the health or safety of people; and must not advertise tobacco products, prescription-only medicines or medical treatments. 3.)    Netflix and Amazon’s European operations will have to guarantee to that at least 20% of video content in their catalogue is from Europe. European regulators are introducing the new rules to make the new wave of digital on-demand and streaming services adhere to the same, or similar, commitments that traditional TV broadcasters are forced to follow in Europe. In addition, platforms such as Netflix and Amazon will have to ensure that their services provide “good visibility” and prominence to European content in their digital catalogues. Netflix recently premiered its first French language series, the political drama Marseilles starring Gérard Depardieu, and British period drama The Crown, which will launch later this year.
Topic 3 - The impact of new media technologies on regulation 1.)    https://9to5mac.com/2017/02/08/new-eu-rules-will-remove-geoblocking-so-customers-can-use-online-subscription-services-like-netflix-abroad/ 2.)    http://www.telegraph.co.uk/business/2016/05/26/the-eus-plans-to-regulate-content-on-streaming-services-are-a-mi/	1.)    The European Union is laying out plans to enforce new laws that breakdown geographical barriers for online subscription services like Netflix, Amazon Prime Video and Apple Music. Online services must provide a service to its customers regardless of their current location, as long as they stay within the EU. For example, this means that a person from the UK (pre-Brexit) could buy a Netflix subscription in their resident country, and then go abroad to Spain for holiday. Netflix would then have to allow the customer to use their same subscription in Spain with access to the same content that they get in the UK. It gives customers more flexible about when and where they can use music and video subscription services. It does not mean that Netflix would have to offer the same library of content across all EU countries, just that if a customer signs up in one country, that same library can be accessed from any other member country. 2.)    Under proposals from the EU unveiled this week, streaming services, of which the massively successful Netflix and Amazon Prime are the two most prominent examples, will have to make sure that at least 20pc of their content is locally produced. They will also have to make sure that it is given “good visibility” on the platform, which means you are likely to see it on the home page, and not tucked away somewhere behind Finnish wildlife documentaries. And the streaming services will be given the option of either making that drama themselves, or else paying a levy into a centrally controlled fund that will then pay for the programmes.  First, streaming is a new industry and a rapidly growing one. Netflix already has 86 million paying subscribers, more than the population of Germany, Europe’s largest country. Of those, 35 million are outside America. By 2020, Germany, Britain and France are all forecast to be among its top five markets, with 28 million subscribers between them. In the US, 46pc of households now have Amazon Prime membership – 54 million in total.

LFTVD - Stranger Things: Narrative Essay

What meanings are created in the sequence you have studied and what do they tell us about narrative, character development and genre?

In the sequence that was studied, meanings are created through sound effects and dialog, camera shots used as well as how the scene is edited for the viewer.  The creators and directors deliberately have scenes portraying a certain story or visual in order to either relate it to the time period of the series or to develop/strength the storyline.

When the scene between Benny (the diner owner) and Connie the social worker starts, the dominance of the male gender is established through the use of camera angles. Due to the time period of the show being during the 80s, many women weren’t seen as equals. This is portrayed in the opening scene due to the high angle shot of Connie talking to Benny. It plays on the stereotypical vulnerable women therefore highlighting the patriarchal society of the time as well as leading the viewer into a false sense of security. As the scene develops, the camera then uses a wide long shot so both characters are seen as ‘equals’ by being on the same level. This then develops the characters as typical stereotypes begin to be questioned. This is then followed by the close up of Connie. In doing so, dominance is then passed onto her as she shoots Benny in cold blood. This particular scene not only is the first visual act of violence, but it also shows the power and control the Government have. By Stranger Things challenging stereotypes and moving away from conventional roles it means that is becomes more appealing to a wider demographic and makes the series genre of sci-fi/adventure more enticing. It also makes the viewer unsure on how the narrative will develop from this as not everything is what it seems.

Another example of camera shots developing the narrative is seen when Joyce and Jonathon reminisce about old memories and well as discuss their feelings surrounding the disappearance of Will. The use of close up shots informs the viewer of the close relationship Joyce has with both of her children as well as her loving nature towards them. This was also previously shown through a flashback of Joyce and Will in his den. By using close shots in this scene helps build the narrative as this family compared to the others seen in the show could be argued as the least conventional family, however, once seen in closer detail, have the more harmonious and strong family bond/relationship. It also strengthens the viewers understanding of the characters as they develop during the first episode.

In addition to this, the directors and creators use Mise en Scene, for example; costume, lighting, actors, make-up, props and setting to tell the narrative and show character development. In doing so, the viewer can strengthen their knowledge of the narrative as well as see hidden meanings. Nancy’s room is a great example of the use of lighting and props to show the time period of this TV drama. Posters in Nancy’s room show pop starts of the 80s – one being Blondie. Furthermore, Nancy’s clothes are those of a typical high school girl of the 80s. her clothes portray that she is an ordinary girl which adds to her ‘nerdy’ and ‘good girl’ character. Another example of the use of props in Stranger Things is the use of the yellow phone. When the Byers feel helpless as the search for Will seems to be going nowhere, they receive a phone call where it extra-terrestrial noises can be heard. This adds to the genre as it helps the view know that there is a sci-fi element to the series. This then will appeal to a different demographic therefore pulling more viewers in. The use of the yellow means that it becomes a focus point as well as stands out in the Byers house that is mainly brown due to dim lighting.

As well as this, the settings in Stranger Things add a lot to the narrative. In the sequences, the settings are based at Benny’s diner, the woods as well as Mike’s and Will’s houses. By not having many settings, it means that the viewer can tell that the events are happening chronologically as well as they are occurring at the same time. This adds strength to the narrative as it shows the action and reaction of events.

In conclusion, the creators and directors in Stranger Things use both camera and elements of Mise en Scene to add further development to their characters and the storyline of those characters. They use a range of shots to play on stereotypes and act as a red herring for the viewer to keep the narrative interesting and different series. Mise en Scene can help to tell the narrative as well as give context to the viewer as to when the show is set and what the 80s were like. In doing so they help the narrative flow and unpredictable therefore making them want to watch the next episode and then the whole series. By making the narrative have so many elements and characters, a wider demographic will be reached and will bring in larger demographics.

LFTVD - Stranger Things: Fans

Learner Resource 9

Research Activity 3 – Long form TV drama and fandom

The term ‘fan’ is believed to come from the term ‘fanatic’ and refers to an audience member who has an intense enthusiasm and, often, an uncritical devotion to a product, person or activity.

There are many ways in which a fan of a long form TV drama can express their enthusiasm and interest for the show. Continuing developments in technology have enabled the distribution and sharing of fan-made materials and the development of fan made communities.

For the Long Form TV Drama unit, you are required to demonstrate knowledge and understanding of fandom and fans’ responses to the set products you have chosen to study.

Task

In order to find out how fans are targeted, how they interpret content from the drama and how they make meaning across different platforms, you will complete a short research activity into the fans of your chosen set products.

To complete this task successfully you will:

1.         Go online and search for a variety of fan made materials. Sites which may help you find fan made materials include:

·                www.youtube.com

·                http://fandom.wikia.com

·                the official social media accounts for the set products 

·                fan-made social media accounts for the set products.

2.         Select three different fan-made products for Stranger Things and complete the grid below.
3.         Present your research findings in a visual format. You will need to take screenshots and embed the links to the fan made materials you have found into your visual document

LFTVD - Stranger Things: Representation Essay

Stranger Things Essay: Representation

How are different social groups represented in the sequence you have analysed?

What role does the use of media language, signs and signifiers have in constructing and presenting these representations as real?

Make a plan, go through the doc link and see what other students wrote for their scenes, take notes.

Your response must:

1.Answer the question.

2.Use key terms learned to date.

3.Give a range of examples from the sequence to support your ideas. THIS IS THE AREA YOU TEND TO LOSE MOST MARKS IN - CAMERA, EDITING, MES, SOUND

There are many representations of social groups explored in Stranger Things, with the main representations being, the portrayal of  teenagers, family life - with mothers and distant fathers being the main focus, as well as the government and police force. By having such a unique show that explores these representations in regards to conforming to stereotypes in some aspects but also breaking down typical stereotypes in others, ensures that a wide demographic. The way Stranger Things are able to achieve this is through the use of media language such as clothing and props throughout stranger things to emphasize the intertextuality of the 80s theme.

The main characters of this series are a group of teenage boys. Although they conform to typical stereotypes of ‘nerds’ in an American High School, this show also breaks away from the stereotype by having them be the main focus compared to typically being in the background of other series. They dress in a very typical way, bringing through the 80s setting but also highlighting their ‘nerd’ stereotype. The boys break away from typical storylines as they don’t listen to their parents or authorities and go looking for their missing friend. Although the director uses a lot of worm eye views and high angle shots when showing their parents and authorities, the children seem to dismiss their power and go against their wishes in attempt to find Will in the woods.  

Characters like the older teenagers, Nancy and Steve, are represented in a more typical and innocent way compared to the group of boys suggesting they are less involved in the main storyline. Nancy in this is seen as a hard-working female from the focused scenes. Her clothing tends to follow a pastel pallet highlighting her lack of importance to the main storyline at this stage as well as reinforcing her innocence when it comes to her romantic relationship with Steve. Nancy’s character in comparison with Steve is very forward when it comes to his approach towards Nancy, conforming to his stereotype, however as the scene develops a new side is shown that portrays him as patient and respectful. This is shown through the camera shot where both characters are on the same level representing them being on the same page. This is in contrast to other scenes where the characters as clear opposites, being put in difference corners of the screen. This conveys to the audience that the conventional high school couple isn't how it seems.

Overall, different social groups are represented through the use of different camera angles and clothing to either make that character follow their stereotype or go completely against it. This not only becomes something the audience can relate to but it also makes the series have an edge to bring a different type of demographic as well as a wider range of demographic. This ensure that the viewer comes back to watch more and show continued support for the show.

LFTVD - Stranger Things: Representations

Representations:

>  Narrative Structure

-          Linear:

·         Have a clear beginning, middle and end.

·         They follow a chronological timeframe.

·         Action A leads to action B which leads to action C etc.

-          Fragmented (non-linear)

·         Disrupted or disjointed narratives. e.g. one is Joyce's family, one is Hopper and one is Scientists etc.

·         They do not have a clear beginning, middle and end.

·         Events / actions may be shown out of chronological order and not in the order they would naturally occur in, so C might happen before A does.

·         It is a narrative technique that can help to show parallel stories, a story within a story, dreams and so on within the same episode or sequel.

·         They are seen to more closely replicate the way the human mind works.

·         They make the audience participate in the story to try and piece the story together.

-          Restricted:

·         We experience the story through the senses and thoughts of just one character.

·         This is almost always the main character (protagonist).

·         The narrative cannot tell the audience things that the main character does not know, we find things out in the story at the same time as the character.

-          Omnipresent:

·         A panoramic, all seeing, view of the world of the story, not just one character's point of view.

·         Provides the point of view of many characters and their experience and feelings within the story.

·         Helps the audience see a broader background to the story, from a number of contexts.

·         Used for telling stories in which the context, views and feelings of many characters are important.

-          Narrative endings /Closed endings:

·         TV dramas traditionally feature one character's story or point of view in an episode, which comes to a resolution at the end of the episode.

·         The character's story can exist as one unique story in one episode.

·         A story is unravelled before an audience, and then ultimately brought to a conclusion.

·         The following episode will feature a different story

-          Open endings

·         When an episode or season ends on a cliff hanger.

·         A story-telling technique.

·         In films, open endings can be unsatisfying for audiences.

·         In long form TV drama, open endings indicate there will be a continuation of the 'story', or possibly a resolution, in the next episode.

-          Academic ideas about narrative:

·         Todorov : Equilibrium theory

·         Strauss : Binary Oppositions

> Enigma Codes:

·         Roland Barthes. e.g.

·         Where does eleven come from?

·         Why did the man get taken?

·         What took him?

·         Why did Benny get shot?

>  In relation to Stanger Things:

·         The events in the episode occur in a fragmented structure due to the multiple storylines in one episode.

·         The structure helps me to understand the story due to the flashbacks to give some background / context e.g. Joyce in Will's tent.  Also, just the background information e.g. Hopper's history shown through the picture in his office and when the teacher asks about his child.

·         The structure helps me to engage in the drama before it unfolds because it makes me want to find out what happens to the characters.