LFTVD Q3 - Representations

‘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.

The representations of social, cultural and historical contexts can vary within long form television dramas (LFTVDs) from different countries. The interpretations vary within the audiences but is influenced by many factors such as ownership and language used. The DR audience, being a niche Danish one, has little to no purpose for representations of outside events. Instead they have a much more focused receiving of the social, cultural and historical events due to them relating and understanding references. This is done in order to target those paying the TV license fee. Conversely, Netflix has a mass global audience which responds to contexts very differently and diversely due to it being spread across 190 countries. These interpretations will be generated as a result of a mass variety of experiences, understandings and opinions.

The representations in these LFTVDs have been able to construct and push a preferred understanding and interpretation. For example, in Stranger Things, it is a period drama, set in the 1980’s. The media language has assisted in creating a version of the 80’s. The mise en scene of each scene and shot creates what we know of the 80’s. Mrs Wheeler’s big hair, Joyce’s ‘76 Ford Pinto, the Wheeler’s old TV. All of these props and added aspects of these shots create a 1980’s representation rather than a direct replica. This means a hyperreal version is generated as it is all based on what we took from the past. It supports Baudrillard’s theory of postmodernism which states how signs and symbols are now key features of society. This will have influenced audiences’ response due to it being a representation of what the millennial audience lived through. They could accept it and agree with the nostalgic element.

Alternatively, The Killing isn’t a period drama as it is set in the same time it is produced. Instead, they represented social aspects which target modern day social constructs of gender. The attitudes towards gender are shown with the contrast of a female protagonist and the male partner and politician. Sarah Lund is represented as a strong and determined worker. She takes leadership of her work group when looking for Nanna and pushes to perform better than Meyer her male colleague. He is sloppier and seemingly childish in his attitudes. This representation is very challenging of society’s patriarchal attitudes as the woman appears to be in charge. This relates to Butler’s theory of gender performativity in that these characters are not limited to their assigned gender roles and stereotypes – it is rather what they do than what they are. However, the politician, Troels Hartmann is the stereotypical white man in power. He manipulates, lies and sleeps around with women on his arm half of the time he is on screen. He still fits with Butler’s theory in that he performs the male gender stereotype instead of crossing over.  The increasingly modern audience could agree and accept the female representation but still reject that of Troels as it abides by the patriarchy.

The industry of these LFTVDs influences the interpretations greatly. For example, Netflix have been able to represent their 1980’s American town of Hawkins with the assistance of repeating well known narratives. The usual mix of school nerds crossing paths with a version of a monster and inevitably saving the town against all odds has been used since around the 1980’s. The young cast of Stranger Things was even advised to watch King’s IT and Spielberg’s ET. The success of these past films allowed Netflix to ensure success and assist constructing their preferred interpretations. This supports Hesmondhalgh’s theory on industry repetition, stating firms fall back on used narratives and cast in order to be successful. The majority of the audience will accept this as it is nostalgic and is still well written. However, some may oppose it as it is not original or new to any relating genre.

Conversely, DR have represented their social, cultural and historical events differently due to them being a PSB. They rely on the TV licenses of the audience to fund and support their productions. This means it’s more suitable to focus on a modern drama rather than period as they don’t have a large enough budget to create something like Stranger Things. This influences the audience’s interpretation of the show as it focuses on relatable and current events (ones they know well). As well as their Danish viewers, DR sold The Killing to BBC 4 which allowed a wider audience of the ABC1 demographic who still understood the show as they’re culturally aware. This expansion in the industry created more interpretations due to there being a greater field of experiences and expertise.

To conclude, interpretations of the representations of the social, cultural and historical events can vary greatly due to producers, audience and actual representations. Stranger Things creates a hyperreal 1980’s with repeated narratives. Whereas, The Killing defies social norms of the patriarchy and has a culturally aware and achieved community in order for the show to be successful. The audiences will interpret the representations differently due to their preferred opinions and willingness to conform to the shows viewpoints.