The Returned

• First broadcast on Channel 4 in the UK in 2013 at 9pm (after watershed)
• It is a French supernatural thriller, produced by Haut et Court.

  
  

  The supernatural thriller genre has a well established cultural history and recognisable elements which is important for a global product. These conventions have developed over time to reflect social and cultural change (e.g. migrants in France) and the needs and expectations of audiences
• It was originally broadcast in France on Canal+ in 2012
• It was inspired by the 2004 French film ‘Les Revenants’
• The show is 2 seasons long, each 8 episodes
• Their main distributor was Zodiak Rights - one of the leading distributors in the international market.
• It was shown in over 70 countries
• The Returned conforms to the supernatural thriller conventions due to the narrative focusing on the appearance of undead within a community and their attempt to deal with it: non linear time and space is manipulated (flashbacks to the crash at the beginning, narrative disruptions e.g. revelations (when we find out about the connection between the twins or the reason for the bus crash), privileged spectator vision (we know it was victor who caused the crash), binary oppositions (living vs dead) and unexplained events e.g. creepy child, slow opening of doors, flickering of lights
• Mirrors and windows feature often in this episode (butterfly at the beginning)  as ways of replicating the world and fabricating reality. (Claire and Jerome watch Camille through a window in disbelief of what they see)
• Within the individual homes there is a sense of claustrophobia reinforced by the darkness and the framing
• Todorov’s Narratology theory:

  Equilibrium - the bereaved community who are trying to adjust to the deaths of their loved ones 

  Disruption - return of the dead 

  Realisation - the tragic consequences (e.g. death of M Costa)

  Resolution - since it is an episodic drama, there would not be a resolution at the end of the first episode, instead there is a cliff hanger. Therefore it subverts Todorov’s theory.
• The Returned is harder to categorise as due to the hybridity of genres (conventions of supernatural thriller, zombie genre, fantasy, sci-fi and drama)

  
  

  It could be classed as a drama as the producers don’t want it to be another ‘zombies vs humans’ they want to show the undead as real people which is why it is in a small rural area and showing complex relationships
• Is The Returned part of the Sci-Fi genre?

  Yes - extraordinary events outside of the realms of reality but have some scientific appeals as it could happen

  No - based on events that defy reality and explanation (people coming back from the dead)
• Dress codes are typically are rapid way of communicating messages to an audience. However, within The Returned, the conventional clothing of the dead challenges typical conventions of the zombie genre.
• Supernatural thriller genre has repeated conventions but to appeal to audiences, new programmes need to display something different to set them apart from others

  Difference in The Returned:

  • focuses less on gore and horror of zombie films and more on psychological impact on community after their children come back (drama genre)
  • the 'undead' are not classic zombies as they look normal and are attempting to return to the life they left
• The recognisable codes and conventions of the supernatural thriller makes it easy to market to audiences. However, subverting these conventions could also ensure commercial success.
• Claire’s shocked expression compared with Camille’s apparent normality when they first meet again will make the audience confused and empathise with Claire as they do not know what has happened to Camille.
• Julie taking Victor’s hands and taking him into her home has references to the vampire genre as vampires always have to have permission to enter a person’s home and that was Julie giving him permission.
• The opening scene when the butterfly escapes from the picture creates enigmatic unease foreshadowing the narrative.
• The establishing shot of the town creates a sense of cultural verisimilitude, establishing a real place in which the characters function, reinforcing their believability.
• AUDIO CODES:

  The sinister mood music in the beginning quickly establishes the enigmatic atmosphere of the episode and that everything is not going to be what it seems
• Thunder is a conventional audio code which creates a sense of unease and fear and is typically used in thrillers.
• Main aim of a television programme is to make the audience feel as though the representations created are real (even if the narrative is out of the ordinary e.g. supernatural)

  Generic verisimilitude - codes and conventions are adhered to and fulfil audience expectations so the audience will believe what they see (this is done through the domestic drama in The Returned)
• Claire’s representation as a maternal figure positions audiences to empathise with her on Camille’s return.
• Victor as the innocent child allows us to sympathise with him and his enigmatic situation and Julie’s initial response to him.
• REPRESENTATION OF WOMEN:

  The representations of women are all generally passive and emotional and they perform roles related to nurturing and domesticity:

  • Sandrine announcing her pregnancy (she is the only woman who speaks up in the meeting)
  • Claire (welcomes the return of Camille without question)
  • Julie (tends to basic needs to Victor even though she doesn’t know him) are both carers
  • Adele is first seen in a wedding dress (traditional female role) and then is emotional and hysterical
  • Lucy is seen as an object of the male gaze
  • Lena is over-sexualised
• REPRESENTATION OF WOMEN:

  Camille breaks away from the passive stereotype as she is seen as active, resourceful and determined.
• REPRESENTATION OF MEN:

  Pierre - dominant, rational and in control of the community and Claire turns to him first after Camille’s return

  Jerome - challenges stereotypical representation of men and women is presented as more emotional and unable to cope with his loss and grief. This is shown through him believing that Lucy can communicate with Camille (vulnerable)

  Simone - represented as ‘other’ and an outsider. He remains looking into the life he once had with Adele.
• BELL HOOKS - THE RETURNED

  ‘Feminism is a struggle to end sexist/patriarchal oppression’:

  • men are seen in dominant positions (rational, efficient and unemotional) - Pierre is the one who tries to rationalise the situation and talks to Camille
  • women are seen as passive and weak and maternal - Claire is domestic and a mother and she turns to the men in her life for help
• VAN ZOONEN - THE RETURNED

  ‘The meaning of gender varies according to cultural and historical context’:

  • It was made in 2012 so there has been little change in the roles of men and women which function as binary opposites which reinforces the patriarchal system

  ‘The display of women’s bodies as objects to be looked at is a core element of Western patriarchal culture’:

  • Lucy is sexualised and is an object of visual pleasure for the audience and male characters and at the end of the episode she is murdered by a man and seen as disposable
• The aim of Channel 4 is to cater for minorities and encourage innovation. Their slogan in 2013 was changed to ‘Born Risky’
• Channel 4 has been at the forefront of broadcasting non-English-language programmes and The Returned was the first fully subtitled drama programme to be broadcast by the channel in over 20 years
• PRODUCTION:

  Channel 4 is a publisher-broadcaster (no in-house production):

  • commissions content from UK production companies
  • co-produces with other companies

  The Returned was originally broadcasted by Canal+ (premium French cable channel owned by multi-media conglomerate Vivendi)
• Channel 4 is:

  • publicly-owned and commercially funded
  • a self sufficient business that reinvests all profit back into programmes at 0 cost of the tax payer (“payed for by advertising, owned by you”)
• The Returned received funding from regional agencies including The Rhone-Alpes Regional Fund and the Central National de la Cinematograpahie
• The Returned had a multi-platform campaign which created a social media buzz focusing on the recognisable genre:

  • trailer (‘no.1 french thriller’, ‘when the dead return’, ‘history resurfaces’) underscored by haunting soundtrack
  • merchandise (targets fan community)
  • innovative/interactive website
  • 360 virtual navigation of the town on multiple platforms
• REPRESENTATION OF GENDER IN THE RETURNED:

  The men are represented in less emotional and rational way compared to the women who are very emotional and vulnerable e.g. Adele seems close to a nervous breakdown.
• REPRESENTATION OF GENDER IN THE RETURNED:

  • men are patronising towards women and don’t trust women unless they see for themselves.
  • women are often sexualised in the episode e.g. Lena is shown in a ‘sex’ scene and fairly sexualised when she has grown up due to her dress codes AND it is implied that Lucy is a sex worker - represents men as using women for sex
• REPRESENTATION OF GENDER IN THE RETURNED:

  • men are often represented as leaders in positions of power e.g. Pierre leads the bereavement group
  • most of the men are seen as emotional detached and reserved - stereotypical (toxic masculinity) e.g. Victor shows virtually no emotion at all and Mr Costa deals with the emotional situation of his wife in a physical way
  • men are represented as aggressive - serge, simon banging on the door and mr costa burning his wife
• REPRESENTATION OF ADULTS IN THE RETURNED:

  • some adults are shown as responsible, mature and dependable (typical representation) but the adults don’t know what to do either - helpless. If we see adults a helpless, it adds fear for the audience
  • However, there is also violence shown from the adult characters