Tuesday, October 19, 2010
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).
Monday, October 18, 2010
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.
Wednesday, October 13, 2010
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.
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.
Monday, October 11, 2010
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.
Sunday, October 10, 2010
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.
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.
Thursday, October 7, 2010
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.
Monday, October 4, 2010
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.
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.
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