Uncovering Stranger Things

The Duffer Brothers' award-winning Stranger Things exploded onto the pop culture scene in 2016. The Netflix original series revels in a nostalgic view of 1980s America while darkly portraying the cynical aspects of the period. This collection of 23 new essays explores how the show reduces, reuses and recycles '80s pop culture--from the films of Spielberg, Carpenter and Hughes to punk and synthwave music to Dungeons & Dragons--and how it shapes our understanding of the decade through distorted memory. Contributors discuss gender and sexual orientation; the politics, psychology and educational policies of the day; and how the ultimate upper-class teen idol of the Reagan era became Stranger Things' middle-aged blue-collar heroine.

The Duffer Brothers' award-winning Stranger Things exploded onto the pop culture scene in 2016. The Netflix original series revels in a nostalgic view of 1980s America while darkly portraying the cynical aspects of the period. This collection of 23 new essays explores how the show reduces, reuses and recycles '80s pop culture--from the films of Spielberg, Carpenter and Hughes to punk and synthwave music to Dungeons & Dragons--and how it shapes our understanding of the decade through distorted memory. Contributors discuss gender and sexual orientation; the politics, psychology and educational policies of the day; and how the ultimate upper-class teen idol of the Reagan era became Stranger Things' middle-aged blue-collar heroine.

This edited collection explores the narrative, genre, nostalgia and fandoms of the phenomenally successful Netflix original series, Stranger Things. The book brings together scholars in the fields of media, humanities, communications and cultural studies to consider the various ways in which the Duffer Brothers’ show both challenges and confirms pre-conceived notions of cult media. Through its three sections on texts, contexts and receptions, the collection examines all aspects of the series’ presence in popular culture, engaging in debates surrounding cult horror, teen drama, fan practices, and contemporary anxieties in the era of Trump. Its chapters seek to address relatively neglected areas of scholarship in the realm of cult media, such as set design, fashion, and the immersive Secret Cinema Experience. These discussions also serve to demonstrate how cult texts are facilitated by the new age of television, where notions of medium specificity are fundamentally transformed and streaming platforms open up shows to extensive analysis in the now mainstream world of cult entertainment.

As media evolves with technological improvement, communication changes alongside it. In particular, storytelling and narrative structure have adapted to the new digital landscape, allowing creators to weave immersive and enticing experiences that captivate viewers. These experiences have great potential in marketing and advertising, but the medium’s methods are so young that their potential and effectiveness is not yet fully understood. Handbook of Research on Transmedia Storytelling, Audience Engagement, and Business Strategies is a collection of innovative research that explores transmedia storytelling and digital marketing strategies in relation to audience engagement. Highlighting a wide range of topics including promotion strategies, business models, and prosumers and influencers, this book is ideally designed for digital creators, advertisers, marketers, consumer analysts, media professionals, entrepreneurs, managers, executives, researchers, academicians, and students.

The Routledge Companion to History and the Moving Image takes an interdisciplinary approach to understanding history in moving images. It engages this popular and dynamic field that has evolved rapidly from film and television to digital streaming into the age of user-created content. The volume addresses moving image history through a theoretical lens; modes and genres; representation, race, and identity; and evolving forms and formats. It brings together a range of scholars from across the globe who specialize in film and media studies, cultural studies, history, philosophy of history, and education. Together, the chapters provide a necessary contemporary analysis that covers new developments and questions that arise from the shift to digital screen culture. The book examines technological and ethical concerns stemming from today’s media landscape, but it also considers the artificial construction of the boundaries between professional expertise and amateur production. Each contributor’s unique approach highlights the necessity of engaging with moving images for the academic discipline of history. The collection, written for a global audience, offers accessible discussions of historiography and a compelling resource for advanced undergraduates and postgraduates in history, film and media studies, and communications. Both Chapter 17 and the Afterword of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.

Even for the casual viewer, the Netflix series Stranger Things will likely feel familiar, reminiscent of popular 1980s coming-of-age movies such as The Goonies, E.T. the Extra-Terrestrial, and Stand by Me. Throughout the series, nods to each movie are abundant. While Stranger Things and these classic 1980s films are all tales of childhood friendship and shared adventures, they are also narratives that reflect and shape the burgeoning cynicism of the 1980s. In Ode to Gen X: Institutional Cynicism in "Stranger Things" and 1980s Film, author Melissa Vosen Callens explores the parallels between iconic films featuring children and teenagers and the first three seasons of Stranger Things, a series about a group of young friends set in 1980s Indiana. The text moves beyond the (at times) non-sequitur 1980s Easter eggs to a common underlying narrative: Generation X’s growing distrust in American institutions. Despite Gen X’s cynicism toward both informal and formal institutions, viewers also see a more positive characteristic of Gen X in these films and series: Gen X’s fierce independence and ability to rebuild and redefine the family unit despite continued economic hardships. Vosen Callens demonstrates how Stranger Things draws on popular 1980s popular culture to pay tribute to Gen X’s evolving outlook on three key and interwoven American institutions: family, economy, and government.

For decades after its invention, television was considered by many to be culturally deficient when compared to cinema, as analyses rooted in communication studies and the social sciences tended to focus primarily on television's negative impact on consumers. More recently, however, denigration has largely been replaced by serious critical consideration of what television represents in the post-network era. Once derided as a media wasteland, TV is now praised for its visual density and complexity. In the last two decades, media scholars have often suggested that television has become cinematic. Serial dramas, in particular, are acclaimed for their imitations of cinema's formally innovative and narratively challenging conventions. But what exactly does "cinematic TV" mean? In Cinematic TV, author Rashna Wadia Richards takes up this question comprehensively, arguing that TV dramas quote, copy, and appropriate (primarily) American cinema in multiple ways and toward multiple ends. Constructing an innovative theoretical framework by combining intertextuality and memory studies, Cinematic TV focuses on four modalities of intermedial borrowings: homage, evocation, genre, and parody. Through close readings of such exemplary shows as Stranger Things, Mad Men, Damages, and Dear White People, the book demonstrates how serial dramas reproduce and rework, undermine and idolize, and, in some cases, compete with and outdo cinema.

NEW YORK TIMES BESTSELLER • If you think you know the truth behind Dr. Brenner’s experiments at Hawkins Laboratory, prepare to have your mind turned Upside Down in the first official Stranger Things novel—“the prequel story that fans have been waiting for” (Kirkus Reviews). It’s the summer of 1969, and the shock of conflict reverberates through the youth of America. As a student at a quiet college campus in the heartland of Indiana, Terry Ives couldn’t be farther from the front lines of Vietnam or the protests in Washington. But the world is changing, and Terry isn’t content to watch. When word gets around about an important government experiment in the small town of Hawkins, she signs on as a test subject for the project, code-named MKULTRA. The remote lab, deep in the woods, contains a mystery Terry is determined to uncover. Behind the walls of Hawkins National Laboratory—and the piercing gaze of its director, Dr. Martin Brenner—lurks a conspiracy greater than Terry could have ever imagined. To face it, she’ll need the help of her fellow test subjects. Amid the rising tensions of the new decade, Terry Ives and Martin Brenner have begun a different kind of war—one where the human mind is the battlefield.