Week Twelve - Filip

I thought the texts for this week were particularly informative :)


How have game shows influenced reality TV?

As a product of major hybridization, reality TV and game shows alike ‘include interaction between non-professional actors and celebrities, although increasingly non-professional actors are often treated as celebrities in their own right in such programmes.’ (Hill, 2005, p. 21)
This gave rise to the hugely popular ‘reality gameshow’ genre, including shows like Survivor and Big Brother, filled with challenges and prizes supplemented with interaction between celebrities, contestants and home audiences.

Following further hybridization into ‘life experiment programmes’ like Wife Swap,Take My Mother-in-law and Holiday Showdown, Reality programming is now generally broken down to:

-Infotainment (Tabloid TV) [Mythbusters, Animal Planet]
-Docu-Soap (Observational personal adventure drama) [Deadlist Catch, Storm Chasers]
-Lifestyle (Life experiment programmes/Professional help journal series) [Supernanny, Wife Swap]
-Reality Gameshow (Weekly elimination challenge series) [Survivor, Big Brother]



Why is reality TV so popular for both programme makers and TV viewers?
Drawing on its influence from gameshows; ‘two reasons: it is ‘cheap and easy to produce’ and is ‘extremely exportable’. (Hill, 2005, p. 22)
Because of the nature of reality TV (mostly observational, with a formula put in place for challenges), there wasn’t much need to spend money on hiring a writing staff as a Soap Opera would need.
These shows ‘were successful in the 1990’s and early 2000’s because they drew on existing popular genres, such as soap opera or game shows, to create hybrid programmes.’ (Hill, 2005, p. 39)




References:
Hill, A. (2005) The Rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15 – 40). Oxon: Routledge

Week Eleven - Filip

What signifiers of reality have emerged from the documentary genre?

How have they constructed our conceptualisation of reality (or at least what we recognize was being real at the visual level)?

Biressi & Nunn (2005) highlight the different narrative format used in reality TV.
‘Rather than construct a ‘temporal framework’ in the form of organized storytelling or rhythmic patterning through a shooting script, observational films chose to rely on editing to generate a sense of lived experience and time passing.’ (Biressi & Nunn, 2005, p. 118)
Editing techniques and cinematography tricks borrowed from the documentary genre have brought with them a sense of believability. There’s a familiarity with ‘cameras following people around’ that leaves audiences more ready to accept the factual entertainment (real life setting and characters alone) as ‘infotainment’ or ‘docu-soaps’. (Hills, 2005, pp 113 – 115)



How does Hill define reality TV?

Hill (2005) states ‘Reality TV’ has undergone changes over years and first explains it is a ‘genre in transition’. From legal and emergency report programs, Hill looks to analyse the threshold between factual and fictional TV. ‘perhaps the most traditional industry term for reality TV is factual entertainment. The term usefully merges factual programming with entertainment-based television, and highlights hybridization, a common generic feature of most reality programmes.’
Hill (2005, p. 108) clarifies; ‘Another traditional industry term is that of popular factual, a term that links popular audiences with a variety of factual television genres and formats.’
Hill uses the name of ‘popular factual’ as a basis for his analysis.

Public television audiences interviewed gave a loose consensus that ‘viewers equated reality TV with ‘cameras following people around.’’

Hill (2005, p. 114) concludes ‘There is no one definition of reality programming, but many, competing definitions of what has come to be called the reality genre.’




References:
Biressi, A. & Nunn, N. (2005). Real Lives, documentary approaches. In Reality TV: realism and revelation. (pp. 35-58) London: Wallflower.

Hill, A. (2005) The reality genre. In A. Hill, Reality TV: Audiences and Popular Factual Television.
(pp. 14 – 40). Oxon: Routledge.

Week Nine - Filip

Hills (2004) lists a number of defining characteristics of cult TV that contain similarities to the defining characteristics of pop genres (e.g. fantasy, science fiction) discussed earlier in the Pop Genres paper. Can you identify these and discuss why you think that these characteristics are repeatedly viewed as underpinning popular genres.


Hills (2004, pp. 509 – 510) briefs three common characteristics attributed to Cult TV:
-Cult-as-Text – Often sci-fi, fantasy and horror.
-Cult-as-Inter-Text – Fan magazines with critical and journalistic analysis of the show.
-Cult-as-Audience – Show achieves ‘cult status’ as a result of fan support. ‘This type of argument positions cult TV as a ‘grassroots’ phenomenon, assuming that it is created by fans rather than by media producers.’

The narrative style is then described as having a ‘hyperdiegesis’ component ‘(adapting the term ‘diegesis’, which means the represented narrative world), suggesting that cult texts can be distinguished by their extended, expansive narrative worlds’ (Hills 2002, p. 137)
This infers a distinctive mark of a cult show is the typical narrative ‘world’ being expanded to a narrative universe, wherein fanciful fantasy elements are treated as commonplace, exemplified by Hill (2004, p 511) via the ‘Buffyverse’ of Buffy the Vampire Slayer.

Hill goes on to describe how while the continuity with this universe is generally preserved, the show maintains interest through subversion and reestablishment of the status quo. All the while episodes utilize fan investment to build story, in-jokes and character relations. Hills identifies this as an aspect of Cult TV which distinguishes it from soap operas and dramas. (Hills 2004, p. 512)

I believe the characteristics recurring throughout popular genres appeal to an audience’s sense of wonder. Leading questions are scarcely resolved, serving more to ascertain a context for an ‘endlessly deferred narrative’ with a focus a few protagonists. (Hills 2002 pp. 134 – 135)



What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?

Hills (2004, pp. 518 – 519) suggests fans operate through various methods:

-Fans organize TV programmes into an ‘intertextual network’ sharing enthusiasm across multiple -media platforms. (Books, films, comics)
-Fans actively prescribing the title of ‘cult’ to a series
-Fans assemble ‘Appreciation Societies’; ‘Fans also produce commentaries, fan fiction, episode guides and production histories that all work to sustain the distinctiveness of fandom as a community that reads the ‘intertextual network’ of cult TV shows in a characteristic way.’
-Fans create a market for memorabilia, merchandise and props related to their favourite shows.


‘Most of these fan activities are carried out both online and in real life: fans can gather together in virtual spaces as well as in hotel function rooms... by making it easier for fans to contct other like-minded devotees, the web increases the possibility of small-scale organized fandoms emerging around a wider variety of TV shows.’ (Hills, 2004, p. 519)
New media enables advanced communicative capabilities between fans, which of course helps the fandom to grow, and also gives more exposure, as Hills cites Kristen Pullen ‘the Internet may have begun to mainstream fandom’. (2000, p. 60)




References:
Hills, Matt. (2002) Fan Cultures, Routledge: London and New York.
Hills, Matt. (2004), Defining Cult TV; Texts, Inter-texts and Fan Audiences, The Television Studies Reader, R. C. Allen & A. Hill. London and New York: Routledge.
Pullen, Kirsten. (2000) ‘I-love-Xena.com: Creating Online Fan Communities’ in David Gauntlett (ed.) web studies, Arnold, London, pp. 52-61.

Harri - Week 11

How does Hill define reality TV?

To my knowledge ‘reality TV’ is ‘staged’ TV programmes about real people, situations and experiences, as it is designed to be entertaining rather than informative. This includes documentaries, sports, news, arts and other genres, which lie within this description. Hill (2005) implies that reality TV is linked to everything and anything i.e people, pets, cars, death and birth and it would make this genre very diverse.

There are many examples of reality TV, but just to name a few you’ve got your music genre ‘American Idol/X- Factor’, game shows like ‘What’s in the bag/ Wipe out, and many documentaries about gangs, drugs, politics and many more. So how can you define such a diverse genre as ‘reality TV’? According to Hill (2005) he states that, “there is no one definition of reality programming” but is more of a term to describe the type of programming of a television industry. Although the important part of ‘reality TV’ is the ‘factual’ component used, which attracts the audience, (Hill 2005).

Sam wk10

(unforgivably late)

Questions answered;

How does Buffy deconstruct traditional literary notions of good and evil?

In what way is Buffy influenced by the romantic gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?

Rose (2002) cites season four’s “Frankenstein” parallel as an exemplar of Buffy’s awareness and refashioning of ‘Romantic’ literature and the canon’s ensuing ideologies. However, the ever present romantic-hero figure is obviously not exclusive to that season (or text) appearing in various guises throughout, most notably recurring in Whedon’s luscious, eponymous heroine Buffy Somers. Far from recycling the familiarity of successful narratives though, Rose’s cited season-four examples argue, rather, that Whedon and team present the proverbial formula and subsequent elements for purposes of modern revision (2002). That Buffy’s efforts to prove antiquated the reality posited by romantic ideologies in a modern-context casts vampires, demons and alleged super-heroes as it’s working populace, may seem ironic (if no less ‘romantic’). And yet despite (or because) of it’s fantastic elements, the innovation is a relevant one, as it spot-lights the techno-fear inspiring Shelley to pen ‘Frankenstein’ in the first, updating its settings to prove the twenty-first century threat of technology usurping its human creators, as prevalent (or more so) as that haunting the early-twentieth, which saw the advent of industrialization.

It does this by having its monster ‘Adam’ slay his creator Maggie Walsh, ruling out the unfolding possibility of an existential dialogue between the two, the very tension driving most of Shelley’s original narrative. Instead, Adam knows full well his purposes for being made, Walsh having programmed these into him, and he quickly acts accordingly; however, these purposes are distorted by Adam in the absence of his human creator, and he believes that in spawning an army of human-demon hybrids he is doing her work. Thus does Buffy caution against the conceit of science as it marches under ideals and wields powers it fervently believes god-given and god-sent without a single mitigating word from ‘god’, preaching the virtues of progress to justify it’s leaps that should be unanimous as it’s decisions more often than not effect the lives of the masses. With no collective to check it, science (the individual or elite) veers considerably from social reality into amoral terrain and is capable of ‘evil’ despite initial nobility of intent, and in doing so undermines essential democracy so that it is reduced to mere visage of democracy.

Buffy’s critique of the solitary-nature of these ‘romantic ideals’ goes further, musing the only effective means of ensuring technology doesn’t steer us into the post-human, is the collective; not only as preventive measure, but (should the situation reach critical) as offensive resistance. Though she is the slayer, it soon becomes clear that the technological forces of which Adam is representative out-match her individual stand, and requires the full coordinated strength of the ‘Scooby Gang’.

Buffy also re-imagines age-old concepts of good and evil, and their equally ancient gender expressions. Braum (2000) cites the 1998 “X- Files” movie as embedding ‘evil’ in the ‘feminine mystique’, the primal dark of the vaginal passage as the gateway to void and non-being, also paradoxically the canal of new life through which we pass in birth. These associations can be traced back to the Bible and the book of Genesis in which Eve ate of the fruit, vilifying woman forever as the herald of original sin. Classical depictions of Eve include the fruit, the snake, and a naked woman; she is everything fecund and of the earth, whose sexuality is considered “monstrous” in as much as it is branded ‘evil’ or ‘other’. Buffy on the other hand holds up male-sexuality as the threatening and decidedly ‘evil’ force. Angel, (ironically named) is initially charming and sweet natured. It is only after seducing Buffy, and a consummate sex act, that her returns to his former tyrant-demon self in a betrayal of the slayers vested romantic interest. Braum (2000) presents a psychoanalytic reading of the relationship as one paralleling the mother/child and the child’s inability to cope with the mother’s ‘shadow’, so that perceptions of the mother inadvertently ‘split’. Another reading however sees the notions of evil theologically heaped onto the feminine, thrown back onto the masculine in a demystifying feminist upheaval combating the negation of female-sexuality in a consistently patriarchal system. Angel is that system, delighting in tormenting Buffy as the system has in it’s demonization of woman at large.

Though Buffy’s solution to the problem might be a tad unrealistic (hurl the patriarchy into the Hell-Mouth?), the intent of Whedon and team is morally sound.

Week 12

How have game shows influenced reality TV?

Game shows have influenced reality TV in a number of ways due to the fact it has basic format which can be easily changed to suit different audiences and countless settings. Game shows rely on chance and the contestant’s knowledge and ability to make life changing decisions in the space of time of a television programme. A game show like Survivor relies on the contestants to not only make decisions that will affect their life but to do so within the framework of the game.

“After the ‘smash-hit’ of Survivor, the networks scrambled to glut the market with a winning formula of gameshow, observational documentary and high drama” (Hill 2005 p. 104). Programmes such as Hells Kitchen and The Biggest Loser use this format to create a programme which involves the audience by pulling at their emotions and getting them hooked on the possible outcome. This sort of reality programme led to the production of life experiment shows. “Part social experiment, part makeover and part gameshow, life experiment programmes usually involve ordinary people experimenting with their lives in various different ways” (Hill 2005 p. 105). Like the programme Queer Eye for the Straight Guy which involved a team of stylists giving one heterosexual man a makeover including redecorating his home and providing him with advice on his love life.

Another way in which gameshows have influenced reality TV is in terms of shows such as I’m a celebrity…get me out of here and Celebrity Big Brother. These shows focus on turning celebrities into ‘ordinary people’ for the purpose of seeing how they cope with their change in setting and lifestyle. Turning the camera on celebrities so to speak also paved the way for shows such as Punk’d a celebrity version of Candid Camera. As stated by Hill (2005) “…as reality gameshows move into the realm of popular entertainment and performance becomes even more central to the success of contestants” (p. 106) it is no wonder that the reality gameshow has had such an impact on the success of reality TV.

Why is reality TV so popular for both programme makers and TV viewers?

Reality TV is so popular for both programme makers and TV viewers as it incorporates well established television genres and programme formats and adapts them into something new and fresh for the TV audience. “Popular factual programming can fit under a range of traditional categories, such as entertainment, and/or topics such as health, but it can also be labelled as reality TV when beneficial to the industry” (Hill 2005 p. 45).

Its popularity can be linked to the fact that is easy to produce and in most cases is highly riveting. “The target viewers of reality TV are the type of viewers who choose popular rather than traditional or specialist factual programming precisely because it is factual and entertaining” (Hill 2005 p.53). The popularity of reality TV makes it worth the while of programme makers to invest time and effort into making shows which captivate television viewers.

Week 11

What signifiers of reality TV have emerged from the documentary genre?

The documentary genre is based in realism, such as life and how we live it. “Realism becomes measured through the subject matter being reconstructed and that realism depends on notions of suffering, raw experience and personal struggle as emblems of the real” (Biressi, A. & Nunn, N 2005 p. 36). The documentary genre is primarily based on using the example of ordinary people as a learning tool to depict how different groups of people live their lives. The audience gains insight from people who are struggling to carry out their day to day activities from behind the lens of a camera. “Grierson, who coined the term ‘documentary’ happily acknowledged the role of aesthetics in the genre, describing the documentary process as the ‘creative treatment of actuality’” (Biressi, A. & Nunn, N 2005 p. 36).

Documentary is popular due to the intimate style of filming which relies on the openness of the subjects being documented. This is brought over to reality TV in shows such as Survivor and Project Runway which depicts ordinary people living their lives, however doing so in a manufactured setting. Documentary originally started in cinema however, “it was television that was to become the most commonly used an accessible arena for both the screening of documentary and as a space for the representation of ordinary people – men and women” (Biressi, A. & Nunn, N 2005).

Those that made television programmes aimed at producing shows that could connect with the audience by showing real people in situations that would garner an emotional response from viewers. This started the production of documentary dramas which showcased real people in the format of television drama. “The term ‘documentary drama’ itself also points to the perceived importance of dramatic realism at this time, which, together with an emphasis on truth-telling as the foundation of productions, led to the cultivation of a uniquely televisual lexcion of conventions” (Biressi, A. & Nunn, N 2005 p. 54). The influence of this form of drama lent itself to many other types of factual programming and reality TV genres.

How does Hill define reality TV?

Reality TV is encapsulates a wide range of different genres and sub-classifications of ‘popular factual programming’ (Hill 2005). Its main purpose is generally entertainment but also incorporates other styles such as documentaries, sports, news and the arts. “The term reality TV is so flexible that it can be applied to any type of popular factual programming the industry wants to sell to channels and viewers at home or abroad” (Hill 2005).

‘Popular factual programming’ can relate to not only what an audience may deem as reality TV but also what the industry may label it in order to market It to the television watching public. “Most television scholars who discuss reality TV tend to include a variety of television genres in their definitions of the ‘reality genre’ precisely because reality TV borrows from so many different existing genres” (Hill 2005 p. 49).

Programmes such as Survivor are not only based on the game show format but are also influenced by the popularity of dramas and soap operas. Similarly programmes such as Project Runway and Americas Next Top Model incorporate suspense and drama into the show in order to keep the audience interested in what will happen next. “The continuum between fact and fiction is a useful way to think of the relationship between contemporary factual programming and the various types of popular factual television that make up the reality genre” (Hill 2005 p. 50).

It is difficult to define the reality TV genre due to the amount of influences used from other genres and those sub-categories of the genre itself. Reality TV is in essence is a term used to describe any show based on real life events made for the purpose of television.

Harri - Week 10

How does Buffy deconstruct traditional literary notions of good and evil?

With its supernatural characters and mythology Buffy is all about good versus bad, the yin/yang, dark/light context. The battle before ‘man’ between good and evil has existed in many mediums since before the beginning of time (sounds cliché right), but it’s true! Can you can read and see this is many novels, movies, journals, articles and even the Holy Bible. Although good usually triumphs and wins the battle as anticipated, how has ‘Buffy the Vampire Slayer’ deconstructed and expose the hidden contradictions or assumptions of ‘good and evil’? A cult TV like Buffy the narratives are basis on good vs. evil, this is to produce characters that cannot be predicated by the viewers and audience. As Braun (2000) describes, that characters of the ‘good’ side are develop in ‘frightening sinister ways’ i.e Willow who is an outcast at high school, and becomes friends with Buffy, she learns that she has supernatural abilities. This is similar to Buffy herself, in the concept of trying to escape her destiny.

Braun (2000) also goes on to say that the ‘bad guys’ the  ‘evil ones’ are the lost ones. These are the characters with many issues and ‘selfless motivations’, and that likely characters have a change of heart and become good, and if not the good go bad. Example, Angel who we see is Buffy’s love interest and a helpful character in many of her battles, but when they have fallen deeply in love Angel’s curse comes back to hit him, and he is back to his normal no-soul vampire self. However Braun (2000) suggests that the important theme of Buffy is that we all have the capacity of being evil.

How do you think Buffy has influenced the contemporary vampire drama “True Blood” and the “Twilight” series of novels and films?

What do I think? Yes, definitely Buffy has influenced these cotemporary vampire dramas. And what evidence to I do to prove this, well according to O’Leary (2010) Buffy the Vampire Slayer became one of the most influential television shows of the past two decades, made stars of its young cast, and basically invented the TV genre of urban fantasy. Buffy is known for combining fantasy with horror as well the main romance with high school angst which many films have adapted i.e. Twilight -the whole relationship of Edward and Bella, and Buffy with Angel. O’Leary (2010) implies that Buffy wasn’t the first to mix genre but because of the show’s popularity it was easy for both fantasy and horror to get along.

Another reason why Buffy has influenced the likes of ‘True Blood’ and ‘Twilight’ is the characters. Sookie who has telepathic abilities but carries it around like a burden, is almost like the character Willow in Buffy. Also the whole concept of the ‘vampire love interest’ of humans, make its seem like males can only be the vampire while the human is always the female and leading role, as Buffy has had bigger influences on the matter or the strong female lead on TV.

Harri - Week 9

Hills (2004) lists a number of defining characteristics of cult TV that contain similarities to the defining characteristics of pop genres (e.g. fantasy, science fiction) discussed earlier in the Pop Genres paper. Can you identify these and discuss why you think that these characteristics are repeatedly viewed as underpinning popular genres.

Hills (2004) describes hyperdiegesis as one of the characteristics of cult TV, this type of narrative form is an important element within cult TV, meaning that the importance of this fictional narrative lures the audience and viewer’s attention to the parallel universe where they can be a part of the society created by the show.  An example of this is the cult TV series of ‘Buffy the Vampire Slayer, here we see that this show is based on the genre of fantasy, where magic, powers, vampires and creatures are used to fabricate another world. Although ‘Buffy’ is set in a world of imaginative fiction involving magic and adventure, however the idea of reality and realism is hidden.

A great storyline and cast of characters in cult TV is what makes a good TV programme. ‘Lost’ is a thrilling example, characters are from all walks of life and sometimes you may think you know them or can read what kind of character they will turn out to be, but due to an event it’s the totally opposite. At first you wouldn’t expected ‘Lost’ to be like a fantasy based show, but when polar bears are roaming the island and thick spirited smoke killing people, the genre just fits. Again this is influenced by Hills (2004) theory of hyperdiegesis, questions about ‘lost’ that is left unanswered and the weird flash backs that don’t make sense, this leave the audience wanting more and even creating their own hypothesis of what’s more to come.

What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?

The fans play a crucial role in the construction of cult TV, because if there were lack of enthusiasm and obsession of particular TV programmes, ‘cult’ would not be established without its fans. Hills (2004), also implies that being a fan of cult TV doesn’t mean you have to show ‘special devotion’, but that cult TV is ‘centrally important to cult fans’. Most fans nowadays have turn to blogging online about favourite shows, writing commentaries and even creating fanfiction, where the fans become the writers as they say what goes. There is a lot of fan-based websites online, where you can buy merchandise or old videos and DVDs, which are no longer in store. This is why media is central to fan based activities.

With fans, the shows becomes their reality, whether it may be because the can relate to a character, or even if it’s a time to escape from the real world. The favourite show then becomes part of a group where the audience identifies similar themes and ideas that can associate with reality. 

No Screening - week 12

No screening is planned for this Thursday (week 12). This will give you all an opportunity to catch up on your blogs and begin working on the second brief assignment (Fanfic or an essay).

Harri - Week 7

What is the difference in emphasis between the terms science fiction and speculative fiction? Which is The Man in the High Castle?

As we all know science fiction is based on imagined future scientific technological advances and major social or environmental changes, which is always portrayed by space or time travel and life on other planets. Speculative fiction is the term to describe literature that is highly ingenious, based in another reality and this includes science fiction.

Brown (2001) implies that The Man in The High Castle is recognised as science fiction, as attracts readers to think of being in a universe which the author has depicted of little people living small lives with honour and confusion of conflicting ideas which occur. ‘When we are not sure what the fate of individual characters...we a left wondering at the fate of the world as it gives us an appreciation of the fully developed characters who are created by events and occurrences’, (Brown 2001). This novel is a work of speculative fiction. Brown (2001) suggests that ‘Dick has set the stage in a sub–genre of science fiction little explored at the time he wrote the novel, of the Alternative World’.  

What does Brown (2001) identify as the central themes and concerns of the novel? What elements conform to the wider generic features of SF?

Brown (2001) describes science fiction to be one of Dick’s obsessions, as he is preoccupied with the concept that ‘the universe is only apparently real, an illusion behind which the truth might dwell’. Although many may agree or not, science fiction portrays the thought of different worlds and what our future may be. Dick based his characters on people he knew and versions of himself he wrote about ordinary people in extraordinary circumstances.

Brown (2001) states ‘Dick suggests that the world presented in The Man in the High Castle is but an illusion, that other, better worlds might exist’. This identifies the themes and concerns of this novel, being the idea those other worlds exist, and that one’s own perception of this differs because of reality. 

Gabriel Week 9

Hills (2004) lists a number of defining characteristics of cult TV that contain similarities to the defining characteristics of pop genres (e.g. fantasy, science fiction) discussed earlier in the Pop Genres paper. Can you identify these and discuss why you think that these characteristics are repeatedly viewed as underpinning popular genres




Hill (2004) definitions of cult television do show some similarities to pop genre; definition one for instance describes how the diegesis of these shows is often other-wordly allowing the audience to escape the confines of their ordinary world and take part in the pseudo-reality created within the show. This hyper-diegesis as Hill calls it, means that because the show takes place in a world of fantasy the concept of realism within the show is often blurred also, allowing for the producers greater freedoms when it comes to creating sub-plots or variations in the narrative. These variations create much more background on characters than the conventional mode of operation in fantasy/science fiction in which all we learn about a character is how he progresses to the next goal and over comes his obstacles, which is all great, but that also creates a very one dimensional persona to the character. Cult TV on the other hand, by creating these variations gives each character a little more back story, allowing the audiences to 'connect' more with the characters, and in turn become more hooked to the program. 




What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?


The role of fans in the development of a cult TV show, because without the fans the term 'cult' would have to be removed. The following of the program must be substantial if the show is to receive cult status. Hill (2004) gives four examples of how this happens; firstly, the show becomes part of a group of programs that is not defined by anybody, bu rather this group is formed individually, when the audience begins to link the program with others due to similarities in theme or philosophical concepts. Secondly, fans will define these groupings and shows as 'cult' status, which means that although the shows may not share similarities in the conventional sense, the followings are what combines them under the term 'cult TV'. Thirdly, fans of cult TV form "Appreciation Societies", groups in which the fans discuss the shows and exchange theories of future episodes and meet with each other at conventions. These conventions allow not only for inter-textual development of the cult status, but it allows for the expansion of the fan base, through media exposure.Also, with the internet the number of cult TV shows out there is expanding rapidly, and sources of information on the shows is readily available to anyone in the world. Finally, with such a large target audience and consumerism at its best, these cult TV shows create a huge market for memorabilia and merchandise bearing the shows logo.

NO SCREENING

There won't be a screening this week (11) or next week (12) - this will give you all more time to focus on the blogs and the assignment.

Sam wk9

Questions answered this week;

Wilcox and Lavery (2002) identify 9 defining characteristics of ‘quality TV’ – can you apply any of these to other television series that you have viewed recently? Are there any other characteristics that you could add to their list?

Hills (2004) lists a number of defining characteristics of cult TV that contain similarities to the defining characteristics of pop genres (e.g. fantasy, science fiction) discussed earlier in the Pop Genres paper. Can you identify these and discuss why you think that these characteristics are repeatedly viewed as underpinning popular genres.
(found this question intimidating)


Hills (2004) identifies “hyper-diegesis” as a defining characteristic of cult television, meaning the fictional narrative-universe extends beyond what is being immediately represented at any given time. It is ‘expansive’, the worlds which qualifying shows construct allowing for constant renewal in that their fantastic premises are so broad as to accommodate significant changes in character, plot etc., without creators resorting to “risky reinvention”. Such premises are those designed in avoidance of absolute resolution, meaning the exploration of avenues seemingly irrelevant to the major plight of the protagonist are valid in that they further substantiate the show’s world, the finer details of which may eventually converge with key events in the series. However, even key events won’t supply resolution; so long as the “central narrative puzzle” remains unsolvable, creators are apt to “endlessly defer” narratives from an otherwise pending climax (Hills, 2004).

J.J. Abram’s ‘Lost’ is an example of cult TV driven in any and all directions by a central enigma, it’s ‘puzzle’ allowing for periodic character sketches and some very real development, a major feat considering its sprawling cast. Such freedom also allows for a rapid interchange-ability of role, characters shifting along the protagonist-antagonist continuum responsive to narrative-unfolding, as opposed to routinely jumping hurdles that tell us nothing new about them.

Wilcox and Lavery (2002) cite ‘Buffy’, whose characters exhibit a certain fluidity; for example character Spike, the once-murderous vampire who enters the Scooby Gang as its sole undead member and finally sleeps with the slayer, or Willow, who grieves the death of lover Tara by wreaking bloody mayhem, even skinning the culprit alive before (unsuccessfully) instigating the apocalypse. Characters from ‘Lost’ are similarly responsive, like ‘bad boy’ Sawyer who makes good, and ‘Other’ Julia, who undergoes a positively transformative disillusionment about leader Ben. Unlike more formulaic viewing, the above holds to Wilcox and Lavery’s “emotional realism” (2002), in as much as characters face dilemmas as three-dimensional beings with options. Wilcox and Lavery (2002) also relate literary references as a fixture of the quality/cult show. ‘Lost’ applies here also, with most of its core characters bearing the names of pre-Enlightenment philosophers (Locke, Rousseu) that position them (not permanently as noted previously) in the islands quasi-religious happenings.

Rather than gimmicky implementation to ensure a shows longevity, “deferral” often manifests as genuine innovation in which a show can display a “social awareness” (Wilcox and Lavery, 2002) utilizing the medium to question institutional and generic conventions such as those traditionally dictating the representation of gender (definitely Buffy) and race, among others.

Hills (2004) also observes cult TV’s thematic tendencies, leaning towards fantasy/science-fiction in which viewer familiarity is established gradually by way of repetition, its fantastic elements woven into the world-construction stamping it distinctively as alternate/other. To maintain the illusion, the ‘fantastic’ is treated like the ‘everyday’. What is more, the “self-consciousness” of cult television (Wilcox and Lavery, 2002) requires absolute continuity of premises, and though extraordinary aversion of actual laws, the narrative lore must be regarded as empirical (by its own populace at least). In fact, the ‘hyper-diegesis’ is very similar to Tolkien’s ‘Secondary World’ or the world-construction of high fantasy, in which the text holds both to a single protagonist while illuminating vastness in the fictitious environment (both geographically and historically) that enriches, not subsumes, the immediate sequences.

However, much like science-fiction, cult TV can juxtapose modern/urban settings with supernatural happenings (Buffy), and while maintaining the illusion with the continuity of high fantasy, can attempt contact with the actual in science fiction’s ‘what if’ vein by these settings alone. And in it’s serialized form it has access to what is current, with the naturally ensuing potential to be ‘topical’.

These ‘popular genres’ are seen to be equipped with the same semantic ability as texts from ‘significant’ canons, and yet remain without the critical visibility they surely deserve. It could be speculated that creators of ‘pop’ are aware of the stigma and even willingly pursue the mediums, providing as they do a space free of the pretence and subsequent creative constraint of the ‘serious’, producing forms discernibly neither high or low in bids to dispel culture-myths; like Philip K. Dick in his use of science fiction, a sphere he found to be at an agreeable distance from literati pomp and it’s posing as sole-carrier of the ‘logos’, contesting it’s otherwise spontaneous manifestations.

Harri - Week 6

What are the underlying thematics of Princess Mononoke? How does it ‘defamiliarise’ its historical setting, according to Napier (2005)?

I would say there are many underlying thematics of Princess Mononoke, but as a viewer or audience we have different interpretations of what we believe to be the themes in this anime. This film has many female characters especially those women who are under the care of Lady Eboshi. We clearly see that the women who are always carrying riffles are in charge and most likely have the authority figure within relationship status. There is also the greed of materialism where the humans who want the power from the gods of nature almost end human race itself. 

Napier (2005), states ‘the film defamiliarises two important icons in the Japanese culture, the myth of the feminine as long-suffering and the supportive. The myth of the Japanese as living in harmony with nature, often expressed through a union of the feminine. This is seen through the major concept of the film where there is war against nature, led by Lady Eboshi. Her army of army of independent women depicts the idea of an un-natural’ army which is typically a male only crew. The historical setting is defamiliarised as her army operates with riffles, made by the lepers, whereas swords are more factual and authentic.

However seems that Lady Eboshi has a strong tendency of her women not becoming the stereotypical woman staying at home, doing housework and providing the main needs for the family. San who is adopted by the wolves and known among the spirit gods as ‘the wolf girl’ goes against her own human race to save the forest god. Although she doesn’t see herself as being human, she is aware of their deception and greed for power as it overcomes the realisation of destroying humanity. Her determination to protect to the forest has the underlying theme that she is also doing it for her people.

With reference to Cavallaro (2006), what distinguishes Mononoke technically as being – it is generally agreed – a great work of anime?

Cavallaro (2006), has conveyed the idea of ‘shojo’ being a subgenre of anime as it defines the film of Princess Mononoke. What makes this film popular or ‘a great work of anime’ is the passion and attraction of Japan’s myth, legends and folklore tales, as this is what Princess Mononke is based on.

I’d have to agree with Cavallaro, in the sense that Japanese culture is fully portrayed throughout the film. The characters clothing, the mystical characters used and the significance of the setting. Miyazaki’s characters certainly stood out for me, especially Lady Eboshi. Although she appears as an elegant sophisticated woman, her manners are totally different. She’s very persistent and stubborn, but she she makes an effort for her women (army) to feel safe and comfortable in their living. Even though her main agenda was to gain the power of the forest god, her persistency and stubbornness was never lashed out on the women and lepers of her camp, as she took them from brothels and whorehouse as they were all abandoned and rejected from society.

Week 9

Hills (2004) lists a number of defining characteristics of cult TV that contain similarities to the defining characteristics of Pop Genres. Can you identify these and discuss why you think that these characteristics are repeatedly viewed as underpinning popular genres?

Cult TV takes an extraordinary person/place/experience and turns into something if not ordinary then at least believable. It relies on the audience accepting and understanding some of the key concepts that make the show unique and trusting the plausibility of the shows narrative.

Cult TV also attracts its viewers by portraying close character relationships that grow stronger due to the knowledge and understanding of the characters’ extraordinariness. Love stories which never fully develop are also brought into the storyline to make the characters seem more human despite the unique situations they have to deal with on a daily basis.

Cult TV is largely popular due to the fact that it deals with complex issues that both stem from everyday life and from problems that are out of this world. For the most part the major narrative questions remain unanswered, therefore leaving the audience to create their own ending or leaving them something to ponder over.

These characteristics underpin popular genres as the audience - as in the case of Buffy – wants to be the girl that can kick evil in the butt if it is lurking around the corner. They also want to know the answers to the questions that are being asked in the narrative and whether there can actually be a happy ending. Essentially a fan of popular genres is curious and willing to believe the impossible could happen, and that a supposedly ordinary person could be a superhero.

What role does Hills (2004) suggest the fans play in the construction of Cult TV? How is new media central to this?

Fans play an integral part in the construction of Cult TV as without their passion or maybe even fixation to a certain programme or series, the programme or series could not be defined as ‘cult’. Due to the mania for a certain show fans create a base for other media to stream from the show’s success. For example in the case of Buffy the Vampire Slayer the series has lead to an online Buffy comic strip, a series of books as well as various on line sites dedicated to fans of Buffy.

Due to their passion, fans themselves are known to form ‘Appreciation Societies’ and also to organise conventions where they can meet and discuss their shared interest. As stated by Hills (2004) ‘Fans also produce commentaries, Fan fiction, episode guides and production histories...’ These are produced to continue the fashion that fans have created by wanting more information on the show and interaction with others who watch it. This leads on to the production of ‘memorabilia, merchandise and props that relates to their much loved TV shows’ (Hills 2004).

Media plays a central part in this as most fan based activity that can be done by meeting face-to-face can also be done online. People can gather at conventions or meet in an online chat room to discuss their favourite shows. They can also buy merchandise online or in a shop and post interpretations and guides on a website or in paper form. This is just to name a few; media is a powerful tool in creating a ‘Cult TV’ market, without which the status of ‘Cult TV’ would not be where it is today.