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| So, this game is not actually Outrun. It's just a 3D arcade racing game that looks a bit like Outrun. However, the open topped red car being driven by a driver and her girlfriend in the conclusory montage of San Junipero is a clear referential code to Outrun and I imagine the only reason Outrun isn't in this episode is because of complicated rights issues. MEDIA IS FUN |
Take one
- A binary opposition is constructed between Kelly and Yorkie. Their clothing is diametrically opposed, with Kelly in vibrant, bright colours and extroverted jewellery, while Yorkie is wearing a modest jumper that rejects stereotypical assumptions of a male gaze. This opposition constructs an ideology of stereotypical conservatism, that later in the narrative is destroyed when we realise Yorkie’s sexuality. Therefore, this subversion of a binary opposition challenges heteronormativity
- The hermeneutic code of the dialogue “do I have to red light” suggests many polysemic interpretations to the target audience. The confusing use of the unexplained technological lexis will appeal to science fiction fans. This enigma is never explicitly resolved, and the media literate target audience must instead guess what is happening through context. This process of intertextual relay rewards the target audience of science fiction fans
- The scene makes explicit intertextual reference to the arcade game Outrun for a variety of reasons. First and foremost it allows the episode to target a niche audience of videogame fans. Furthermore, the utilisation of the MES of the red car crashing, followed by Yo9rkie’s pained expression combines to construct a powerful proairetic code, that suggests death by car crash
- The establishing montage introduces the MES of the poster for the film The Lost Boys, which situates this scene in the 1980s functions as a nostalgic mo9de of address for the varied target audiences. This theme of nostalgia is essential to this episode, as it makes clear a fundamental narrative conceit, where individuals are able to use technology to travel back to a perfect past. Additionally, the 80’s as a decade and a concept is highly symbolic of progressive political movements . Furthermore, in reinforces the wish fulfilment aspect of wanting to be young and free
- The combination of media language here constructs a highly confusing yet highly satisfying narrative for the diverse target audiences
Take two
- The MES of the arcade driving game not only constructs a deeply involving nostalgic mode of address to the target audience, but also functions a s a dual proairetic and hermeneutic code, involving the specialised target audience of sci fi fans, and inviting them to speculate on future events. Speculation is fundamental to science fiction!
- The establishing montage of any tv show serves a number of functions. Primarily there to establish a central narrative, this sequence also establishes key representations that are fundamental to the episode. While this establishing montage presents a range of polysemic interpretations, one key theme that is introduced is Yorkie and Kelly’s gay relationship. Yorkie’s sexuality was encoded in to the narrative from an early point in order to challenge heteronormative and hegemonic assumptions of sexuality. This subtle queer relationship forms a binary opposition with the 80s setting, which serves to foreground it’s importance
- The themes of queer acceptance are central to the narrative theme of ‘heaven’ being a physical and reachable place on earth
- Kelly and Yorkie are immediately established as a diametric opposition, through the wildly differently colour schemes of their outfits. Kelly’s purple costume is hegemonically associated with femininity, while the pastel blue of Yorkie’s jumper is further anchored through her shorts, which construct a somewhat masculine representation. Yet Yorkie is is also somewhat androgynous through adopting stereotypically feminine traits, such as her subtle makeup, which in turn constructs a complex representation of gender, which will clearly appeal to a younger, teenage audience who will expect to see more nuanced representations of gender
- Kelly asks Yorkie “are you visiting”, which situates Yorkie as an outsider, which is reinforced through her glasses being called in to question,
- We as an audience are positioned with Yorkie throughout the opening scene through a montage of tracking shots, positioning the audience in a simultaneously nostalgic but also distanced mode of address
- The cinematography jumps form focusing on Yorkie to tracking Kelly as she emerges in to the club, which establishes a proairetic code: while Yorkie is stereotypically shy and demure, she is also motivated by sex is is clearly romantically interested in Kelly