How 'real' are game shows? / how 'real' is reality TV?
Reality programmes draw from existing television genres and formats to create a hybrid programme by marrying factual with fictional clouding the 'real' in reality TV and reality gameshows. There are 3 distinct features from which both are derived from: tabloid journalism, documentary television and popular entertainment.
'Interplay between ordinary people and celebrities, or information and entertainment' are drawn on from tabloid journalism' Hill (2005). Tabloid journalism relies on personal and sensational stories to create informative and entertaining news creating the sense that 'real' seems to be more created than natural. Hill explains that personal and sensational 'real-life' stories are distributed to the general public through popular media and oral storytelling to an extent where some cases would become a par to everyday conversation and speculation. Readers of tabloid papers and viewers of reality TV sometimes mix and match their consumption of news and reality programmes evolving into a popular hybrid of hard news and gossipy chat that was often preferred by viewers.
The issues of realism within documentary televsion are found in two notions: observational realism (set of formal markers that allow us to think that what we are watching is partly media independant reality) and expositional realism (rhetoric of accuracy and truth). 'Both types of realism, ask the audience to register the techniques used to observe real life or the way in which an argument is presented to us' Hill (2005). In terms of reality programming, the extent to which these shows address realism, accuracy and truth are significant as they do not stray from such values but at the same time are unable to conform to documentary conventions due to their reliance on entertainment formats as seen in Survivor. Hill (2005) points out that there are even traces of observational documentary in reality gameshows such as Big Brother although its claims to observe real life are heavily subsumed within the game genre.
Popular entertainment recognises that gameshows have been a staple in television because it is cheap and easy to produce and is extremely exportable, specifically for this discussion would be the mentioning of melodramatic soap operas. The way in which these shows attempt to represent heightened or sensational realities within popular entertainment can be directly related to gameshows about relationships, (Joe Millionaire, the Bachelor). Such shows combine observational documentary techniques with sensational narrative techniques of soap opera. According to Hill (2005) reality gameshows encourage participants to indulge in gossipy, soap like forms of interchange and maintain narrative pace and interest by switching the focus of attention from one group of characters to another.
So essentially the 'real' within gameshows and reality TV is manipulated and extorted for entertainment purposes. However it is this combining of genres to make a hyrbid show that allow gameshows and reality TV to be successful. The idea that such shows are 'real' is what entices viewers to watch no matter how sensational the plots of shows are, people want to watch what they are led to believe is real.
Reference
Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television (pp.15-40). Oxon: Routledge.
Thursday, November 4, 2010
Wednesday, November 3, 2010
Week Eleven
'How has the documentary genre influence reality TV and how it represents the 'real'? and 'What signfiers of reality have emerged from the documentary genre?'
The most influential modes on the development of reality TV are the stylistic variations of documentary - direct cinema, cinema verite and free cinema. Each style attempts to record the 'real', whether its interacting with the subject matter, use of new technology, engagement with location shooting and creative use of sound - each style tries to show what think is authentic in their representation of real.
Direct Cinema uses discrete observational filming, allowing audiences to form their own opinions by 'revelation through situation' based on the evidence of assessing facts themselves. Biressi & Nunn explain that Instead of using an organised framework of storytelling and script shooting, observational films choose to rely on editing to generate a sense of lived experience and time passing. This is shown through avoidance of commentary, extra-diegetic music in favour of long takes, indirect speech and overheard dialogue - traits that correspond with 24/7 reality TV (used in 'Big Brother')
Cinema verite took an opposite approach than observational filming choosing to interrupt film subjects, interact with them and even film their responses to rough-cuts of film footage. This technique is often associated with frenchman Jean Rouch who argues that 'their presence prompted them [subjects] to be more truthful and more authentically themselves' Biressi & Nunn (2005). However this also prompted acts of provocation for action with its use of journalistic interview, editing to reveal contradictions and argument, the conspicous presence of filmaker and or crew and also the use of commentary. (as seen in 'True Beauty')
Free Cinema however attempted to step out of the previous conventions set by is predecessors by using hand-held cameras and real locations, sometimes echoing the work of cinema verite and direct cinema. Working to break from the latter works, free cinema focussed its subject matter on pop culture, youth culture and the working class. 'The subject matter of these films .. was taking ordinary culture seriously and contravening the assumption that documentary should present a selective and ideal picture of national life' Biressi & Nunn (2005). They go on to say that free cinema placed people centre stage; preferring location shooting, unknown regional actors, some improvisation and a new emphasis on the experiences of the industrial working class. (hints seen in American Idol)
Despite their differences, 'what these different documentary styles share is a political concern, differently informed by socio-cultural context to depic the lives of 'ordinary' people' Biressi & Nunn (2005). Direct Cinema and cinema verite pushed for a more equal relationship between film maker and subject whilst Free cinema showcased a respect for working class culture.
References
Biressi, A. & Nunn, N. (2005). Real Lives, documentary approaches. In Reality TV: realism and revelation. (pp. 35-58) London: Wallflower.
The most influential modes on the development of reality TV are the stylistic variations of documentary - direct cinema, cinema verite and free cinema. Each style attempts to record the 'real', whether its interacting with the subject matter, use of new technology, engagement with location shooting and creative use of sound - each style tries to show what think is authentic in their representation of real.
Direct Cinema uses discrete observational filming, allowing audiences to form their own opinions by 'revelation through situation' based on the evidence of assessing facts themselves. Biressi & Nunn explain that Instead of using an organised framework of storytelling and script shooting, observational films choose to rely on editing to generate a sense of lived experience and time passing. This is shown through avoidance of commentary, extra-diegetic music in favour of long takes, indirect speech and overheard dialogue - traits that correspond with 24/7 reality TV (used in 'Big Brother')
Cinema verite took an opposite approach than observational filming choosing to interrupt film subjects, interact with them and even film their responses to rough-cuts of film footage. This technique is often associated with frenchman Jean Rouch who argues that 'their presence prompted them [subjects] to be more truthful and more authentically themselves' Biressi & Nunn (2005). However this also prompted acts of provocation for action with its use of journalistic interview, editing to reveal contradictions and argument, the conspicous presence of filmaker and or crew and also the use of commentary. (as seen in 'True Beauty')
Free Cinema however attempted to step out of the previous conventions set by is predecessors by using hand-held cameras and real locations, sometimes echoing the work of cinema verite and direct cinema. Working to break from the latter works, free cinema focussed its subject matter on pop culture, youth culture and the working class. 'The subject matter of these films .. was taking ordinary culture seriously and contravening the assumption that documentary should present a selective and ideal picture of national life' Biressi & Nunn (2005). They go on to say that free cinema placed people centre stage; preferring location shooting, unknown regional actors, some improvisation and a new emphasis on the experiences of the industrial working class. (hints seen in American Idol)
Despite their differences, 'what these different documentary styles share is a political concern, differently informed by socio-cultural context to depic the lives of 'ordinary' people' Biressi & Nunn (2005). Direct Cinema and cinema verite pushed for a more equal relationship between film maker and subject whilst Free cinema showcased a respect for working class culture.
References
Biressi, A. & Nunn, N. (2005). Real Lives, documentary approaches. In Reality TV: realism and revelation. (pp. 35-58) London: Wallflower.
Fan fiction: Based on Princess Mononoke
My name is Yakul. I live a simple life, and I am a happy creature who enjoys many things. I like to chew on grass in the boundless meadows surrounding my village, or gallop through the fields so fast it feels like I am flying. I like spending time with my master, Ashitaka. I care deeply for my master and would do anything for him. One morning we were out for a ride when we came across a boar with a demon inside of him. He charged at us with malice in his heart. My master succeeded in killing him, but was wounded by the beast and his arm became black and cursed. My master and I, we had to leave our home and everything we knew to find a cure for his curse. I felt such sorrow in leaving those meadows behind me. In our journey we came across many dangers. Samurai men shot arrows at my master and I, but my master had a good aim. We travelled for days, and I became weary but I knew I must continue for my master’s sake. We came upon a forest one day, and found two men who lay wounded in the riverbed; we carried them back to their village. On the way, we saw a pack of wolves and a girl was with them. They were beautiful animals, but cruel and mysterious. I drank from the water’s edge and watched them cautiously. My master yelled out something to them. The girl told us to go away.
The people in Iron Town were nice to me; they fed me good food and stroked my back. My master left me and went into the village while I remained in the stables. I felt lonely there and I missed him. My heart felt like a rock, heavy and useless. One afternoon, I heard a commotion outside. My master was in trouble. He was carrying the wolf girl, San, limp in his arms, and blood was spilling from him. I carried them both upon my back, into the forest. San talked to me when she awoke, and we took my master to the domain of the forest spirit. We left my master lying in the water, asleep. I spoke to San of my master, how he was a good man, and all we had been through on our journey. She understood. She was no wolf after all; she was tender and kind just like a child. The forest spirit had healed my master’s wound, but he was still cursed. I watched him in this realisation and felt much despair for my master. He did not deserve it. Yet as I looked upon him, I knew he did not feel resigned to his fate. This is why I love him.
The next morning we awoke and the wolves had gone. A battle was about to take place. There were samurai shooting arrows in all directions, I ran and ran until I felt a searing pain in my haunch, and even then I ran some more. Finally I had to stop. My master fought the men off and pulled the arrow out of me. I yelped in pain. My master told me to stay behind but I would not leave him. I followed him, dragging my legs behind me. I would never leave my master. We reached the battlegrounds and there were bodies everywhere. I did not know what was happening, I was hurt and could not move easily. My master left me with the men of Iron Town, and they tended to my wound. I watched my master as he walked into the distance. My feeble elk heart swelled up with sorrow.
Many hours passed and I began to feel uneasy. On the horizon appeared a wall of bubbling black goo; it was flowing toward us like a river. The men and I, we ran to the lake and waded through it until we were at a safe distance. I was in much pain but I was thinking of my master all the while. We watched from the lake as the black ooze destroyed everything it touched. I cried at the limp and fallen flowers. In the distance, a huge, translucent figure appeared. This was no mortal creature, but a god. As I looked more closely, I realised that the humans had cut off his head and that was why the beauty of the forest was being drowned in a black wave. I thought about how cruel these men must be, to cut off the head of a god. I felt deeply ashamed and looked around at the men in the lake. I knew these men had not cut off its head, but I wondered if they would for the right price. I already knew far too much about human corruption for a peaceful elk such as myself. Perhaps I cannot understand the thing that humans are hungry for. I will never know why they lust for power and will obtain it by any means. It is difficult not to be angry with these humans, but I know they can be good because of my master, Ashitaka. He redeems the human race.
Something appeared in the distance that made me lose my train of thought. The figure was standing up before us and placed his head back onto his body. In an instant he transformed from a slimy, dark monster, back into an enchanting, starry figure. As he disappeared, the dead and lifeless hillside sprung back into life. All that was ruined was now repaired; colours emerged all around me, replacing the horrible blackness that had once dominated the landscape. The men and I travelled on a raft to reach my master and San. When I reached them, they were asleep in the grass. So innocent they were. I nudged my master gently with my nose and he awoke slowly. My master’s wound was healed. It was decided that we would stay and help the humans re-build their town. I looked around me, and there were meadows as far as the eye could see. There was my master by my side. I was happy.
The people in Iron Town were nice to me; they fed me good food and stroked my back. My master left me and went into the village while I remained in the stables. I felt lonely there and I missed him. My heart felt like a rock, heavy and useless. One afternoon, I heard a commotion outside. My master was in trouble. He was carrying the wolf girl, San, limp in his arms, and blood was spilling from him. I carried them both upon my back, into the forest. San talked to me when she awoke, and we took my master to the domain of the forest spirit. We left my master lying in the water, asleep. I spoke to San of my master, how he was a good man, and all we had been through on our journey. She understood. She was no wolf after all; she was tender and kind just like a child. The forest spirit had healed my master’s wound, but he was still cursed. I watched him in this realisation and felt much despair for my master. He did not deserve it. Yet as I looked upon him, I knew he did not feel resigned to his fate. This is why I love him.
The next morning we awoke and the wolves had gone. A battle was about to take place. There were samurai shooting arrows in all directions, I ran and ran until I felt a searing pain in my haunch, and even then I ran some more. Finally I had to stop. My master fought the men off and pulled the arrow out of me. I yelped in pain. My master told me to stay behind but I would not leave him. I followed him, dragging my legs behind me. I would never leave my master. We reached the battlegrounds and there were bodies everywhere. I did not know what was happening, I was hurt and could not move easily. My master left me with the men of Iron Town, and they tended to my wound. I watched my master as he walked into the distance. My feeble elk heart swelled up with sorrow.
Many hours passed and I began to feel uneasy. On the horizon appeared a wall of bubbling black goo; it was flowing toward us like a river. The men and I, we ran to the lake and waded through it until we were at a safe distance. I was in much pain but I was thinking of my master all the while. We watched from the lake as the black ooze destroyed everything it touched. I cried at the limp and fallen flowers. In the distance, a huge, translucent figure appeared. This was no mortal creature, but a god. As I looked more closely, I realised that the humans had cut off his head and that was why the beauty of the forest was being drowned in a black wave. I thought about how cruel these men must be, to cut off the head of a god. I felt deeply ashamed and looked around at the men in the lake. I knew these men had not cut off its head, but I wondered if they would for the right price. I already knew far too much about human corruption for a peaceful elk such as myself. Perhaps I cannot understand the thing that humans are hungry for. I will never know why they lust for power and will obtain it by any means. It is difficult not to be angry with these humans, but I know they can be good because of my master, Ashitaka. He redeems the human race.
Something appeared in the distance that made me lose my train of thought. The figure was standing up before us and placed his head back onto his body. In an instant he transformed from a slimy, dark monster, back into an enchanting, starry figure. As he disappeared, the dead and lifeless hillside sprung back into life. All that was ruined was now repaired; colours emerged all around me, replacing the horrible blackness that had once dominated the landscape. The men and I travelled on a raft to reach my master and San. When I reached them, they were asleep in the grass. So innocent they were. I nudged my master gently with my nose and he awoke slowly. My master’s wound was healed. It was decided that we would stay and help the humans re-build their town. I looked around me, and there were meadows as far as the eye could see. There was my master by my side. I was happy.
Monday, November 1, 2010
Week 12
Why is reality TV so popular for both programme makers and TV viewers?
“There is something for everyone in the reality genre.” (HILL, 2005) From this statement TV viewers in search of entertainment look for something that would be appealing to them whether it be documentary, sports, leisure, popular fictional programmes, infotainment, game-shows, talk-shows, etc. At the same time TV programme makers do their best to air and even create programmes to catch viewers’ attention to retain the popularity of that show on TV.
The more a TV viewer watches a particular programme the more likely TV programme makers are to produce similar programmes, so that they keep their targeted audience satisfied and keep flicking to that same channel. In relation to this once the season for’ Keeping up with the Kardashian’s’ season finished a while back, ‘Courtney and Chloe take Miami’ starring Kourtney and Khloe Kardashian – aired shortly after that in which I think was to keep TV viewers coming back for more entertainment.
Reference List
Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15 – 40). Oxon: Routledge.
Week 11
How does Hill define reality TV?
Over the past decade, the genre reality TV has changed dramatically from only airing emergency services or ‘on-scene footage of law and order’ to practically anything in terms of people, animals, birth, death, etc.
Reality television is less about genre and more about the treatment of ‘realities’ in the “border crossing” between fact and fiction. Reality central defines reality TV by the ratings or by how many people watch the channel because of the reality stars that are featured in the channel – the stars are primarily there to promote the TV channel which of course would get more viewers and ratings.
Reality TV or reality programming is a series “of events in the lives of individuals or groups, the attempt to simulate such real-life events through various forms of dramatised reconstruction and the incorporation of this material...into an attractively packages television programme.” (Hill, 2005)
Reference List
Hill, A. (2005) The reality genre. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 14 – 40). Oxon: Routledge.
Week 10
How does Buffy deconstruct traditional literary notions of good and evil?
“”Evil” is often less fixed in these shows, with many characters demonstrating both decent and demonic traits and behaviours across episodes or sense. “Good” characters may develop in frightingly sinister ways; villainous ones may surprisingly reveal complex and even selfless motivations.” (Braum, 2000)
Buffy being the ‘vampire slayer’ fights against the evil forces and protects her community from them. Angel – a vampire who had a curse placed upon him by his family encounters Buffy and vows to help her fight her battles. Throughout season 2 Buffy is supported in all her battles with the help of Angel; however, when Buffy loses her virginity to Angel, this results in the restoring of Angel’s evil side – Angelus.
Believing that she was the cause of this transformation, Buffy knew that she had to do something about it. She had to become more violent and aggressive in order for her to reverse this error that occurred. Buffy’s quest to get revenge on the Angelus is totally understandable because of what Angelus was preparing to do – destroy all humankind – and also because he had killed a friend and teacher of Buffy. This revengeful action of Buffy’s is not to be seen as an act of evil doing.
In what ways is Buffy influenced by the romantic gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?
“Buffy adopts and adapts many romantic Gothic conventions.” (Rose, 2002) In the text ‘Of creatures and creators’ by Anita Rose, Romantic conventions are compared in two texts –Buffy the vampire slayer and Frankenstein. Frankenstein is brought to life by its creator – Victor. Victor abandons him in fright because of what Frankenstein looked like. Frankenstein then left to figure out things alone. He eventually does learn a lot by observing the De Lacy family in which he reveals himself to them only to be rejected because of his appearance. He ends up killing his creator because of denied love and affection.
In Buffy, Adam kills his creator – Walsh at first sight because he already had access to “all the Initiatives high tech tools” and didn’t need her help. (Rose, 2002) Here we see that in Victor’s case, because he neglected his creation, it resulted in the death of his family and friends, then, himself. Whereas “in Buffy, the family unit represented by the Scooby Gang and Riley, is preserved.” (Rose 2002) In order for us to find out what our true nature is we must reach inside and learn. Buffy provides a contemporary critique of this tradition by understanding that “the most effective weapon to retain humanity and encourage creativity is the force of community”
Reference List
Braum, B. (2000) The X-files and Buffy the Vampire Slayer: The ambiguity of evil in supernatural representations. Retrieved 18 October, 2005 from: http://www.findarticles.com/p/articles/mi_m0 412/is_2_28/ai_64688900
Rose, A (2002) Of creatures and creators: Buffy does Frankenstein, in R. Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.
“”Evil” is often less fixed in these shows, with many characters demonstrating both decent and demonic traits and behaviours across episodes or sense. “Good” characters may develop in frightingly sinister ways; villainous ones may surprisingly reveal complex and even selfless motivations.” (Braum, 2000)
Buffy being the ‘vampire slayer’ fights against the evil forces and protects her community from them. Angel – a vampire who had a curse placed upon him by his family encounters Buffy and vows to help her fight her battles. Throughout season 2 Buffy is supported in all her battles with the help of Angel; however, when Buffy loses her virginity to Angel, this results in the restoring of Angel’s evil side – Angelus.
Believing that she was the cause of this transformation, Buffy knew that she had to do something about it. She had to become more violent and aggressive in order for her to reverse this error that occurred. Buffy’s quest to get revenge on the Angelus is totally understandable because of what Angelus was preparing to do – destroy all humankind – and also because he had killed a friend and teacher of Buffy. This revengeful action of Buffy’s is not to be seen as an act of evil doing.
In what ways is Buffy influenced by the romantic gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?
“Buffy adopts and adapts many romantic Gothic conventions.” (Rose, 2002) In the text ‘Of creatures and creators’ by Anita Rose, Romantic conventions are compared in two texts –Buffy the vampire slayer and Frankenstein. Frankenstein is brought to life by its creator – Victor. Victor abandons him in fright because of what Frankenstein looked like. Frankenstein then left to figure out things alone. He eventually does learn a lot by observing the De Lacy family in which he reveals himself to them only to be rejected because of his appearance. He ends up killing his creator because of denied love and affection.
In Buffy, Adam kills his creator – Walsh at first sight because he already had access to “all the Initiatives high tech tools” and didn’t need her help. (Rose, 2002) Here we see that in Victor’s case, because he neglected his creation, it resulted in the death of his family and friends, then, himself. Whereas “in Buffy, the family unit represented by the Scooby Gang and Riley, is preserved.” (Rose 2002) In order for us to find out what our true nature is we must reach inside and learn. Buffy provides a contemporary critique of this tradition by understanding that “the most effective weapon to retain humanity and encourage creativity is the force of community”
Reference List
Braum, B. (2000) The X-files and Buffy the Vampire Slayer: The ambiguity of evil in supernatural representations. Retrieved 18 October, 2005 from: http://www.findarticles.com/p/articles/mi_m0 412/is_2_28/ai_64688900
Rose, A (2002) Of creatures and creators: Buffy does Frankenstein, in R. Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.
Sunday, October 31, 2010
Week 9
What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
“Being a fan of cult TV doesn’t mean just displaying subjective enthusiasm or a ‘special devotion.’ It also mean, at the very least being able to attempt to account for and defend one’s fan passions.” Hills (2004) Hills (2004) suggests three ways in which fans play in the construction of cult TV. Firstly is the transformation of TV programs into cults by fans. He also says that while some fans are committed to just a single TV show or actor/actress, the other majority use individual series to relate pr connect to a fan community. The second point he suggests is that “fans self-consciously use the term ‘cult’ to describe these networks of texts as distinctive.” Third suggestion was that fans organised themselves into social appreciation groups/societies. These fan groups are formed after the TV programs first airing and can be lead to becoming a cult rather than a ‘social appreciation group’. In these groups, fans share their interests, work together to keep the fan culture alive, they meet together annually, and change meetings into events held in geographical locations.
The internet has had a huge impact on fan clubs. It has allowed fans to talk about their favourite TV programs and create/produce commentaries, fan fiction, episode guides, etc. They could possibly even (with the knowledge they have of TV programmes) start new cult TV programmes…well, one’s that are fan worthy.
Even though fans created the term ‘cult TV’ and other things, once the media step into the picture, a lot of things will change and be moulded to suit media producers views of what counts as cult or how it should be viewed.
Wilcox and Lavery (2002) identify 9 defining characters 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?
3 - “Quality TV tends to have a large ensemble cast” (Wilcox and Lavery 2002)
In relation to Buffy’s large ensemble cast I thought of the series LOST and its large ensemble cast with 14 major roles. Matthew Fox as Jack Shephard plays the role of being the survivors’ leader; Evangeline Andrews as Kate Austen, ex-fugitive; Jorge Garcia as Hugo “Hurley” Reyes, mentally unstable millionaire; Naveen Andrews as Sayid Jarrah, former torturer; Yunjin Kim as Sun Kwon, grieving wife; Henry Ian Cusick as Desmond Hume, three-year islander; Michael Emerson as Ben Linus, he played as the former leader of the island’s native population, also known as the others. The storyline of this series LOST follows two different time periods so there are two groups of cast members, the previous list is the first and the second is as follows.
Josh Holloway as James “Sawyer” Ford, crash survivor and con man; Elizabeth Mitchell as Juliet Burke, former Other and fertility specialist Dr.; Daniel Dae Kim as Jin Kwon, crash survivor and former enforcer; and three science team members from a freight offshore, who later on join the crash survivors they are Ken Leung as medium Miles Straume; Rebecca Mader as Charlotte Lewis, anthropologist; Jeremy Davies as Daniel Faraday, physicist. Terry O’Quinn as John Locke on the other hand is the only character who is involved in both storylines.
Reference List
Hills, M. (2004). Defining Cult TV; Texts, Inter-texts and Fan Audiences, The Television Studies Reader, in R. C. Allen & A. Hill. London and New York: Routledge.
Wilcox, R. & Lavery, D. (2002). Introduction, in R. Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.
“Being a fan of cult TV doesn’t mean just displaying subjective enthusiasm or a ‘special devotion.’ It also mean, at the very least being able to attempt to account for and defend one’s fan passions.” Hills (2004) Hills (2004) suggests three ways in which fans play in the construction of cult TV. Firstly is the transformation of TV programs into cults by fans. He also says that while some fans are committed to just a single TV show or actor/actress, the other majority use individual series to relate pr connect to a fan community. The second point he suggests is that “fans self-consciously use the term ‘cult’ to describe these networks of texts as distinctive.” Third suggestion was that fans organised themselves into social appreciation groups/societies. These fan groups are formed after the TV programs first airing and can be lead to becoming a cult rather than a ‘social appreciation group’. In these groups, fans share their interests, work together to keep the fan culture alive, they meet together annually, and change meetings into events held in geographical locations.
The internet has had a huge impact on fan clubs. It has allowed fans to talk about their favourite TV programs and create/produce commentaries, fan fiction, episode guides, etc. They could possibly even (with the knowledge they have of TV programmes) start new cult TV programmes…well, one’s that are fan worthy.
Even though fans created the term ‘cult TV’ and other things, once the media step into the picture, a lot of things will change and be moulded to suit media producers views of what counts as cult or how it should be viewed.
Wilcox and Lavery (2002) identify 9 defining characters 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?
3 - “Quality TV tends to have a large ensemble cast” (Wilcox and Lavery 2002)
In relation to Buffy’s large ensemble cast I thought of the series LOST and its large ensemble cast with 14 major roles. Matthew Fox as Jack Shephard plays the role of being the survivors’ leader; Evangeline Andrews as Kate Austen, ex-fugitive; Jorge Garcia as Hugo “Hurley” Reyes, mentally unstable millionaire; Naveen Andrews as Sayid Jarrah, former torturer; Yunjin Kim as Sun Kwon, grieving wife; Henry Ian Cusick as Desmond Hume, three-year islander; Michael Emerson as Ben Linus, he played as the former leader of the island’s native population, also known as the others. The storyline of this series LOST follows two different time periods so there are two groups of cast members, the previous list is the first and the second is as follows.
Josh Holloway as James “Sawyer” Ford, crash survivor and con man; Elizabeth Mitchell as Juliet Burke, former Other and fertility specialist Dr.; Daniel Dae Kim as Jin Kwon, crash survivor and former enforcer; and three science team members from a freight offshore, who later on join the crash survivors they are Ken Leung as medium Miles Straume; Rebecca Mader as Charlotte Lewis, anthropologist; Jeremy Davies as Daniel Faraday, physicist. Terry O’Quinn as John Locke on the other hand is the only character who is involved in both storylines.
Reference List
Hills, M. (2004). Defining Cult TV; Texts, Inter-texts and Fan Audiences, The Television Studies Reader, in R. C. Allen & A. Hill. London and New York: Routledge.
Wilcox, R. & Lavery, D. (2002). Introduction, in R. Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.
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