Deutschland 83: case study blog tasks

Introduction: Reviews and features

Read the following reviews and features on Deutschland 83:

The Guardian - Your next box set: Deutschland 83
The Guardian - Deutschland 83 Pity the Germans don't like it

1) Find one positive aspect and one criticism of Deutschland 83 in the reviews.

• One positive aspect discussed in the reviews was how Martin was "superbly played" by Jonas Nay throughout the series and that his performance was "striking", however, the series at times "backtracks into stereotype". 

2) Why does the second Guardian article suggest the Germans didn't like the show?

• The series was seen as too simplified in its depiction of the Cold War for its German audience.

3) Find three 'below the line' comments from either of the Guardian articles. What did the audience think of Deutschland 83? Do you agree with the comments?

• 'Deutschland 83 was great, and I also hoped it was a sign of things to come on German TV. "See; Germany can do it". Only then to find out that it was an American writer....'
• 'Saw the title on Netflix recently but didn't bother. To me German series often suffer from poor production value and screenplays are either obsessed with complexity or dull and boring. The latter dominates. I blame the culture of ARD and ZDF which basically stifles all experiments in television and for some strange reason is more obsessed with viewer numbers than the privately owned channels.'
• 'Deutschland 83 was meh. I watched it on Amazon because The Americans does not come on again until March and I needed a fix of 80s Cold War spying skulduggery. Some excellent supporting actors, but the main actor was a bit blank IMHO and not quite up to carrying the weight of the show.'
• Regarding Deutschland 83, what audiences seemed to value most was the authenticity found in its subject matter and the novelty of it being set in Germany and its cast all being German. Some people felt that it did not live up to the potential of its premise.

Promotional interview

Channel 4 News: Matt Frei interviews Jonas Nay

1) What does Jonas Nay say about growing up in a united Germany?

• Jonas Nay says that to him, there was no real distinction between East and West as he was born in 1990 and so was just German. In school they did learn about the cold war but the focus was much more on WW2. He also felt that if he had been a 25 year old back in 1983, he would have lived in West Germany as he values his freedom and mobility.

2) The Channel 4 News interview is conducted in German with English subtitles. How does this reflect Channel 4's remit as a public service broadcaster and their target audience? (Clue: revise your work on Channel 4 and Public Service Broadcasting here!)

• This reflects Channel 4's remit of standing up for diversity as it allows its British audience to be exposed to a foreign TV drama from Germany.

3) Interviewer Matt Frei asks about the current political situation in Germany. Why might this interest a Channel 4 audience?

• This would interest Channel 4's audience as they would want to know where Germany may go while also just curious to understand just how much their politics had changed during the split and then after.

Textual analysis: Audience pleasures and representations

• Scene 1: Garden/BBQ scenes (East & West Germany)
• 4.58 – 8.20 and 34.00 – 37.20
• Technical codes – particularly mise-en-scene: 360 degree camera movement circling Martin when talking to Edel and his sister created sense that things are closing in on Martin. Contrast in East - camerawork seems to accompany Martin to his mum’s birthday party rather than threaten him. Several shots in the East German party of key characters shot over-the-shoulder or through other guests. Emphasises family and friends present and welcoming atmosphere. Huge contrast in mise-en-scene between East and West - two houses.
• Representation of East & West Germany / Family / Gender: Western family (Edel family) is shown to be dysfunctional and unhappy. The BBQ scene feels awkward and forced. Strong contrast in the East German party scene with close family, friends enjoying themselves, relaxed atmosphere. Perhaps an example of fetishisation of the working class in the media - it makes East German life seem appealing and positive which is arguably historically inaccurate.

• Scene 2: Martin/Moritz first sees the West German supermarket
• 14.30 – 20.25
• Technical codes – particularly mise-en-scene: Mise-en-scene - use of colour and costume. Iconic Puma logo red T-shirt as a colourful contrast to the dull East. Supermarket shelves full of colour and stacked high. Almost an example of postmodern art and designed to emphasise the difference between East and West.
• Audio codes – particularly music: Music - Sweet Dreams Are Made Of These. Diegetic sound but full of meaning to convey Martin’s first experience of the West. Dialogue on bench - emphasises the positives about the East and the dangers of the West. BUT this scene overall seems to present the West and capitalism in a more positive light.
• Representation of East & West Germany / Communism & Capitalism / Historical accuracy: Shot of two policemen eating ice creams is symbolic of the difference between East and West. Several shots emphasise representation of East and West - close-up of chandelier, wide shot of luxurious bedroom etc. Gender representation: ‘What does Annett want?’
• Audience pleasures: Historical reality - Blumler & Katz U&G theory - surveillance. Danger of WW3, reference to Pershing II missiles. Key elements of D83 based on historical fact. Music - 1980s references - nostalgia. Faithful reconstruction of Germany in the 1980s.
• Scene 3: Training montage scene when Martin/Moritz learns how to be a spy
• 20.40 – 22.40
• Technical codes – particularly camerawork and editing: Fast-paced editing including jump cuts, typical of montage sequence. Split screen / editing / graphics used to emphasise difference between East and West.
• Audio codes: Music and SFX: Non-diegetic sound adds pace to the sequence Dialogue/voiceover - covers a lot of narrative.
• Audience pleasures: German audience - nostalgia in terms of products and brands. International audience - surveillance (U&G theory) - learning about Germany, 80s gadgets etc. Genre pleasures - spy/thriller.
• Intertextuality: Similar to a Bond sequence (particularly with the gadgets)
• Scene 4: Briefcase scene when Martin/Moritz is stealing the NATO nuclear plans
• 31.13 – 33.30
• Technical codes – particularly camerawork and editing:  Close-ups of Martin while picking lock and photographing the documents. Close-ups of the documents themselves - words like highly classified, actual details of the missiles and Ronald Reagan’s signature. These are recreations of real documents from the time - emphasising the historical aspect of the show and the way it is based on real events; positions audience to be on Martin’s side. Shot from behind the blinds continues recurring motif of shots through windows or from behind objects. Creates voyeuristic pleasure and also fits the genre of spy thriller. Audience are given the experience of spying by continually using camera shots that give the impression of observing events from a distance.
• Audio codes:  Non-diegetic sound - music helps convey the tension of the scene and satisfy genre expectations of spy thriller. Diegetic sound - deliberately increased volume of Martin’s breathing, lock picking, turning pages in briefcase. Creates intensity, tension.
• Representation of East & West Germany:  Reality - this is a key scene in establishing D83 as a show based on real events. The close-ups of actual documents from the time help to blur the boundaries between historical fact/real events and fiction. East v West - presents West as threat to world security, nuclear war.

Production and industry contexts

Deutschland 83 was produced by German production company UFA Fiction and distributed internationally by Fremantle International. It was broadcast on RTL (Germany), SundanceTV (US) and Channel 4 (UK) as well as many other broadcasters around the world.

1) What kind of company is UFA Fiction and what shows have they produced?

• UFA Fiction combines UFA production activities in the areas of series & series, TV movies, high-end drama and feature films and has a remarkable portfolio that has had a lasting impact on the German television landscape. Many productions were not only great successes with audiences, but also won numerous German and international TV and film awards, including two International Emmy Awards. Produced shows like - Liebeskummer, Extraklasse, Charolette link.

2) What kind of company is Fremantle and what do they produce?

• Fremantle is a British multinational television production and distribution company that focuses on entertainment drama, film and documentary content. Fremantle owns non-scripted formats, including the British talent shows Idols, Got Talent and The X Factor.

3) How does Deutschland 83 reflect the international nature of television production?

• Deutschland 83 reflects the international nature of television production due to it being a German show that was written by an American and distributed by a British distribution company. 

Walter Presents

Watch this Channel 4 trailer for their Walter Presents international drama:

1) How does Channel 4 introduce 'Walter'?

• Channel 4 introduces 'Walter' as being all about gritty international drama filled with action and tension.

2) What audience are Channel 4 trying to appeal to with the 'Walter Presents' series?

• Channel 4 are appealing to an audience that has an interest in TV drama and also want to consume more foreign language media. 

3) How does the 'Walter Presents' series reflect the changing nature of television in the digital age?

• Through the globalizing effect of the Internet, foreign language dramas that would have been dismissed by British audiences 10 years ago are now gaining popularity on a mass scale comparable to British dramas. 

Marketing and promotion

Trailer

1) What audience pleasures are suggested by the trailer? Think about Uses & Gratifications theory (Blumler and Katz).

• Diversion: The trailer promises action and nostalgia for the 80s that provides escapism for audiences and a new experience watching foreign language dramas. 
• Personal identification: Trailer shows young protagonist (Martin) which can connect with a younger audience, and features 80s music which can 
• Personal relationships: Trailer shows popular stars such as Jonas Nay that the audience may want to keep up with by watching the show
• Surveillance: Trailer shows historical footage of the Cold War

2) How does the trailer use action and enigma codes (Barthes) to encourage the audience to watch the show?

• Action codes: Chase scenes and explosions to make viewers feel more excited by building up tension during the drama.
• Enigma codes: Making the audience question Martin's mission of being a spy and whether he will be caught or not.

3) The only words heard in the trailer are in English. Why do you think the UK trailer avoided subtitles or German dialogue?

• Many members of a British audience might not find the show as appealing if it is perceived as too foreign or it will just be unappealing to an audience that doesn't speak German.

Press pack

Read the Channel 4 press pack interview with writer Anna Winger. (If the link doesn't work, you can find the text from the interview here).

1) How did she use the historical context and real-life events to create a successful drama?

• Thomas Lovegrove, a British military historian who worked with us on Deutschland 83, first called our attention to Abel Archer, the NATO manoeuvres in the autumn of 1983 that was misunderstood by the East as a real attack. The Russians prepared to retaliate but came to their senses last minute. At the time that we were developing the show, it was exactly 30 years after it happened, so the first information about Able Archer had just been declassified. There was still a lot of mystery around it, which is great for historical drama. We fictionalised the whole thing and used it as the backdrop for the climax of the series.

2) Anna Winger discusses the use of music. Why might the soundtrack attract an audience?

• Music will attract an audience that is familiar with it or fans of and in the case of the 80s it will be those people experiencing the nostalgia of listening to that song in that time, nostalgia is a great seller for any product especially a TV drama that may not exactly be relatable if you didn't live in Germany during the 80s.

Press release

Read this Channel 4 press release on the success of Deutschland 83. (If the link doesn't work you can find find the text from the article here).

1) List the key statistics concerning audience figures. Why was it considered the most successful foreign language drama?

• Deutschland 83 had 2.5 million views on its first episode and is considered the most successful as it has overtaken shows like 'The Returned', which had previously held the record for most views on launch at 2.2 million.

2) How does the press release describe Deutschland 83?

• Set against the real events, culture wars and political realities of Germany in the 1980s, Deutschland 83 is a stylish coming of age story, framed within a suspenseful thriller. Season 1 culminates with the true story of a nuclear stand-off in late 1983, caused by a NATO war game and botched intelligence on the East German side. Created by husband and wife team Anna and Jörg Winger, Deutschland 83 is the first German- speaking drama to play on a mainstream US cable network. Walter Presents will eventually host more than 600 hours of drama that will be available for box-set. “It’s only January but let’s call it already: coolest show of the year.”

International marketing

Look at two different marketing campaigns - the UK DVD release and the American Sundance TV advert.

1) How does the UK DVD cover communicate the sub-genre of the drama?

• The UK DVD cover features a wall behind Martin with a black and white drawing of Marx and Engels on one half and a painting of a man and woman kissing on the other half, with the text "Over the wall under cover". This clearly alludes to the Berlin Wall, letting audiences it is a historical drama. 

2) How do these use font, colour and graphics to appeal to an audience?

• The UK cover uses a sans serif bold font coloured in bright yellow. This colour is usually associated with sunshine and warmth whereas it can also symbolise caution as well as danger, illustrating the difference between the East and West, where Martin will have to survive in Germany. In the US poster, the font is bold as well but in black and pink, replicating a graffiti style.These bright pop colours, that contrast the background of blue, stand out to viewers.

3) Why might the distributors Freemantle International have used different marketing campaigns in different countries?

• The campaign may be different in each country in order to get the target audience they desire. The UK cover is a lot more realistic and quite plain to reinforce social realism which is seen in most British TV and is enjoyed by most British people. On the other hand, the USA one is a lot more vibrant to stand out to the viewers as they prefer something that is eye catching and praising towards action.