Feb 26, 2019 | Television, Volume 31
Elizabeth Gackstetter Nichols Abstract: The character of Jane/El/Eleven in Stranger Things appears to the viewer in Season One as a blank slate, free of individuality, gender or identity. Her transformation, over the course of two seasons, allows us to consider the...
Feb 26, 2019 | Television, Volume 31
Emily McAvan Abstract: In this paper I will discuss the coming together of different orders of being and the ways in which the Stranger Things depicts a sacred dimension of otherness bleeding through into 1980s small-town America. Whilst the metaphor of the...
Feb 26, 2019 | Television, Volume 31
Rebecca Kumar Abstract: The decade in which Stranger Things is set was a crucial turning point in post-civil rights African-American history. For many, the Reagan-era is associated less with halcyon suburbs like Hawkins, where America was once “great,” and more...
Feb 26, 2019 | Television, Volume 31
Keith Clavin and Lauren J. Kuryloski Abstract: This article argues for a queer historicizing of the gender constructions of the characters of Will Byers, Eleven, and Steve Harrington in Stranger Things. We propose that these characters embody complementary gender...
Feb 26, 2019 | Television, Volume 31
Lucy Baker, Amanda Howell and Rebecca Kumar Season One of Stranger Things (Netflix, Duffer Brothers, 2016-present) was praised by critics for how it captured the “allure of simpler, innocent times,” as it offered its audiences the chance to “bliss...
Jul 14, 2018 | Digital Media/Internet, Older Media, Theatre, Uncategorized, Virtual Reality, Volume 30
Abstract: This article maps aspects of the current Extended Reality (XR) production ecosystem in the UK, capturing a unique industry at its moment of emergence. The last three years have seen an increase in activity by traditional theatre institutions in the UK...
