LFTVD Q3 - Assisted

‘The differences in the codes and conventions of LFTVD’s reflect the different values, attitudes and beliefs of the audiences that consume them’. How far to do you agree with this statement?

The differences in the codes and conventions of LFTVD's do reflect the different values, attitudes and beliefs of the audiences that watch them. The long form television drama industry is full various codes and conventions according to the target audience of those productions. In order for these shows to be watched and retain viewers, the production must cater for the values, attitudes and beliefs of whatever audience they possess. Netflix have to tailor their content for mass audiences as the company is a global competitor. This is why there is around 850 original titles alone available, giving them the ability to provide for a mass audience depending on their interests. However, DR, being a Danish company, must only provide and adapt their shows for the niche Nordic audience as there is less marketability for a global Danish show. To survive as companies, Netflix and DR must produce according to their audiences values attitudes and beliefs, despite having huge differences in the size of their personal audiences.

Both ST and TK reflect the values of their audiences based on the story-lines they’ve provided. Netflix based ST in the 80’s and as it holds sci-fi and mystery elements, many hit films of the 80’s influenced their own production. For example, films like ET, IT, the Goonies all posses a group of outcast kids discovering or solving an abnormality in their so called ‘provincial’ towns in 1980’s America. This helps appeal to ST’s audience because they value and enjoy those past films. Netflix are therefore able to predict the success of ST based on the repetition of the success of Spielberg’s and King’s films. This supports Hesmondhalgh’s theory of cultural industries. He states that industries rely on repetition in order to be successful and meet the needs of the audiences.

DR’s, The Killing, has been able to target their audiences consistently by releasing multiple series, all based around a murder and the solving of it. The success of the first series led to a wider audience reaching other European countries. Since 2007, there has been many later adaptations like Borgen and The Bridge remaining in Danish culture but also an American version in 2011. The repetition of the story-line paired with the initial release on Netflix, allowed there to be a prediction of success as audiences were likely enjoy and consume the similar shows.

However, audience is not solely responsible for the given codes and conventions in Stranger Things. The ownership structure could also influence the content. Netflix has the ability to create endless variation and volume of shows due to their gross income. As it stands, they have an annual revenue of $15.8 billion in the US alone. This means Netflix and therefore the Duffer Brothers are able to retain their profit and invest it in risks such as the cast. One which is made up of both known (Winona Ryder) and unknowns (young kids).

Conversely, DR didn’t have the large budget to take the risks Netflix did. Instead, they had a small budget, one not even big enough alone. As their original target audience was Danish, DR had only the license fees to finance the production. This is why they synergised with the German PSB, ZDF. This shows how small DR was compared to Netflix, as they couldn’t even fund the whole of The Killing their self.

Their gathered budgets were also put to use to adhere to their audience’s attitudes and values. For example, Stranger Things season 1 consisted of eight, hour long episodes. This is a perfect ratio to fulfil the bingeability needed in order to please their key audience of aspirers and explorers, as binging is an increasingly popular way of consuming shows by youths.
Alternatively, The Killing season 1 had 20, 50-minute episodes. These were broadcast in the UK as double bills over a number of weeks instead of being available all at once. Similarly, to Netflix, this way of distributing the episodes was tailored to the viewing preferences of their key ABC1 audience, made of the successful resigned.

The codes and conventions of these shows are also influenced by the chosen representations of each show. As nostalgic references are a great way of targeting specific demographics of the audience, Stranger Things was able to collectively represent various 80’s shows, films and events. For example, The Shining, Miracle on 34^th Street. This was essential because the millennial audience makes up a large percent of the audience as a whole. Being able to target their memories, connections and compatibility with the references and characters means they will more likely engage and carry on watching. A long with the older audience, new younger viewers are also exposed to these connotations. As these iconic films are proven to be successful, it is a safe way to also address the younger audience, allowing all areas to be covered. This supports Hesmondhalgh’s theory on repetition as it shows how Netflix have had to use past baselines of stories in order to be successful.

However, The Killing didn’t use much repetition on terms of intertextuality with other shows. Instead, DR decided to focus on characters to vary representations. For example, Sarah Lund is a female detective. Someone that would usually be overshadowed by her male co-workers but instead she defies the stereotype and societal norm to be a strong working woman that can be argued to work better than her male colleagues. At one point this is done with a panning shot as she thinks and is visibly seen to be working. She is paired with her partner Meyer. He takes the on the role of the head strong male detective who can equally be argued as disappointing and underperforming. This supports Butler’s theory of gender performativity as neither of them possess the usual traits of their assigned gender.  The relevant Danish elections coincide with the making of The Killing in 2007. Along with the period drama aspect of Stranger Things in the 1980’s, they both represent a testing political time of heightened secrecy and fear within the government. This is personified as Troels and the Demogorgon as they equally show traits of secrecy and manipulation.

To conclude, the codes and conventions of these long form television dramas do reflect the different values, attitudes and beliefs of their audiences that consume them. ST repeats storylines, uses a mass budget and creates an easily bingeable format in order to attract their global mass audience. Whereas, TK was actually the influencer on other shows, they worked with a low budget and relied on prolonged broadcasting to attract their niche Danish audience which went on to attract their international ABC1 audience. These differences reflect the values of their differing audiences along with the ownerships and representations.