Week Twelve

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.

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.

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.

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.

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.

Week 12

How have game shows influenced reality TV?

According to Hill (2004), reality game shows were first introduced to us in 2000 and have been popular ever since. It originated when a British producer came up with the idea for Big Brother which was a hybrid of a gameshow and an observational documentary (Hill, 2004). There are many aspects of game shows that can be exported to reality TV, as game shows were seen as putting ordinary people into situations where they had to make life-changing decisions in order to succeed in the game and get the reward at the end (Hill, 2004). Makers of reality TV shows picked up on this concept and developed it into shows like Big Brother and Survivor. Survivor in particular is a good example of how game shows have influenced reality TV. It takes elements of a game show, with challenges to compete in for rewards such as immunity or food, and then ultimately the one million dollars for the winner of the show. However other elements such as exploring relationships between the contestants and often being candidly filmed made it into a reality TV show.

Hill, A. (2005). The rise of reality TV. In A. Hill, Reality Popular Factual Television. (pp. 15-40). Oxon: Routledge.

Week 11

How does Hill define reality TV?

Hill (2005) starts by stating that reality TV is factual entertainment, and has a number of different styles which involves normal people, no scripts, non-professional cameras, and recording natural events as they happen. Reality is a genre which is in a state of flux. The genre used to be focused on shows which were centred around police or emergency services, now reality TV has grown to include everything you can possibly think of (Hill, 2005). We still have “traditional” reality shows like Cops, Police 10-7 and Piha Rescue, which follows real events as they happen. Then we have shows like The Hills and Jersey Shore in which the reality can seem somewhat questionable, not to mention the fact that this is questionable entertainment to begin with.

There are competing definitions from the television industry, scholars and audience. The television industry defines reality TV as a hybrid of genres, for example, soap operas and observational documentary. The most succinct definition from the TV industry is that reality TV is factual entertainment (Hill, 2005). Television scholars think it is more useful to refer to reality TV as reality formats, and this can include ‘fictional drama is real-life situations’, ‘slice-of-life observational modes of documentary film making’, and ‘infotainment’ (Hill, 2005). Audiences define reality TV as ‘documentaries of real life’, ‘people programmes’ or shows that are ‘fly-on-the-wall’ (Hill, 2005).

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

Week Ten

How does Buffy deconstruct traditional literary notions of good and evil?
  
According to the work of Braum, the characters within Buffy the Vampire Slayer permeate moral ambiguity deconstructing traditional methods of good and evil. Braum (2000) says that 'evil is often less fixed .. with many characters demonstrating both decent and demonic traits and behaviours', '.. good characters may develop in sinister ways' and 'villiainous ones may surprisingly reveal complex and even selfless motivations'. Whats more interesting is how Braum links this moral ambiguity with gender identities and sexuality.

An example of this would be the relationship between Buffy and Angel who was 'initially portrayed as a dark and somewhat morally ambiguous character' Braum (2000) before becoming Buffys love interest. Angels character developed a sense of 'goodness' with viewers as he miraculously appeared as Buffys aid, saving her on mulitple occasions. However this moral ambiguity quickly changed after Buffy and Angel made love for the first time breaking the curse that held Angel with human traits. WIth his vampiric nature fully restored, Angel attacked a woman outside the apartnment signifying his rebirth as the evil and vengeful 'Angelus'. 'Angels shift from good to evil occured because of sex. This emotionally and physically charged event' is what can be explored with psychoanalytic theory says Braum (2000) which is where the desconstruction of traditional good vs evil really takes place.

The drama that Buffy faced can be transferred to viewers as this sort of emotional turmoil happens throughout our lives; allowing us to come to terms with both the good and bad within loved ones and ourselves. Buffy the Vampire slayer promotes the notion that, 'underneath our civilised demeanors we all have the capacity for evil' by exploring themes of good and evil though supernatural narratives. Combining this narrative with morality, sexuality and gender, Buffy the Vampire Slayer offers a vision that resists easy catergorisation and explores the human predicament at depths that elude more realistic representations. Braum (2000)


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

Buffy has been linked to Mary Shelley's novel Frankenstein with the understanding that the former adopts and adapts many Romantic Gothic conventions. The convention of Frankenstein as a character is paramount in the depiction of opposing Industrial Revolution (a key theme within traditional romanticism) in both Shelley and Whedon's work, however this explicit parallel is not what ascertains the influence of literary tradition. The influential similarities between the work of Shelley and Whedon's Buffy, lie in the representation of the narrative with Whedon taking a more contemporary stand to Shelley in his 1999-2000 Adam story line.

'Buffy offers an alternative response to the ethical and philosophical questions the modern world presents as we consider the ways that technology ... progress can alter nature' Rose (2002). Traditional romanticisim expresses the admiration for a male romanic hero who struggles with the opposing forces within his psyche, Buffy constitutes a feminine narrative who to an extent can be seen as noble and misunderstood in her traits; similar to that of the male hero. With the narrative of the creature, Shelley invites the reader to understand Frankenstein's tragedy - 'denied love and guidance, the creature beomes malevolent and bitter' inflicting questions that anticipate many modern philosophical and ethical dilemmas says Rose (2000). In Buffy, the arrogance of science is taken for granted inducing a modern fear of the 'military industrial complex'. Adam as a project turns for the worst when he awakens and kills his creator outlining his 'design flaw'. Adam's act of matricide and understanding that his purpose is to eradicate both humans and demons in favour of race of cyber demanoids compensates Frankensteins lack of parental love and guidance once again showing how Buffy blurs the lines in romantic gothic tradition.

Just as gender roles an expectations have been blurred, the relationship between creature and creator in Buffy is more complicated and the boundaries are less clear. Adam becomes an improvement on Shelleys character Frankenstein but takes his departure in a different way. 'Frankenstein ultimately fails and in his failure takes along everyone and everything he loves and values' Rose (2002), Adam's failure results in his vanquishing but the means of his creation still exist along with the fear of tampering with natural order.

References


Braun, 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_m0412/is_2_28/ai_64688900

Rose, A (2002) Of Creatures and creators: Buffy does Frankenstein, in R. Wilcox & D. :Lavery (eds) Fighting the forces: whats at stake in Buffy the Vampire Slayer. Lanham: Rowman and Littlefield.

Week 10

How does Buffy deconstruct traditional literary notions of good and evil?
How do you think Buffy has influenced the contemporary vampire drama 'Ture Blood' and the 'Twilight' series of novels and films?

It has been appeared as there has been always males are the heroes (or the most important role) in traditional literatures, like the one in Shelly's novel, Frankenstein. According to Rose (2002), traditional literary Romanticism expresses admiration for a male Romantic hero who struggles with the opposing forces within his psyche. However, Buffy, who is a tiny blonde girl yet clever and strong, being a heroine who fights against evils, constitutes a feminine narrative at its centre. This seems becoming a turning point and attracted to people as opposed to typical/streotype male-centred stories.
This idea/notion of story is well-done outlined and portrayed in Buffy, then became so popular that is also studied for students academically. Correspondingly, the Twilight has influenced by Buffy, and is female-centred narrative. Both females are strong and brave that makes to play a huge role in the story and fight against or fight for something with human-looking creatures (vampires).

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.

Week 9

What role does Hills ( 2004) suggest the fans play in the construction of cult TV?

Hill (2004) states that cult TV can be neither made nor promoted as such by the media industry, but instead hinges vitally on audience take-up and devotion, in other words, it is made by the contribution of audience's passion to a TV show. Then she continues to points out that fans of cult TV have played a part in generically re-organising TV programmes into the category of cult. This huge role which fans play in the construction of cult TV is also the definition of cult TV. First of all, fans organise TV programmes into an 'intertextual network' that is not recognisable as an industry-led, generic grouping. Second, fans self-consciously use the term 'cult' to describe these networks of texts as distinctive. Third, fans of what is termed cult TV have organised themselves socially into 'Appreciation Societies'. Finally, fans of cult TV create a market for memorabilla, merchandise and props that relates to their much-loved TV shows, even long after the cancellation and mass-merchandizing of these shows. Therefore, according to Hills, it seems clear that fans transform certain TV programmes into cults.

How is new media central to this?

Fan activities are carried out both online and in real life. Many of them do via internet; through social networking sites, blogs, and many web pages available. As Kirsten Pullen (2000) has noted, the Internet may have begun to mainstream fandom. More of are created and gathered online as a new form of social community day by day.

Reference

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.

Week 8

Research the number of films that have been adapted from Philip K. Dick novels or short stories.

Blade Runner (1982), based on Dick's 1968 novel 'Do Androids Dream of Electric sheep?'

Total Recall (1990), based on the short story 'We can remember it for you wholesale'

Confessions d'un Barjo (1992), titled 'Barjo' in its English-language release, a French film based on Dick's non-science-fiction novel 'Confessions of a crap artist'

Screamers (1995), based on Dick's short story 'Second variety'

Minority Report (2002), based on Dick's short story of 'The minority report'

Out of this world (1962) which is British Anthology television series and Impostor (2002) are based on the Dick's 1953 story 'Impostor'

Paycheck (2003), based on Dick's short story of the same name

A scanner darkly (2006), based on Dick's novel of the same name

Next (2007), based on the short story 'The golden man'

(Wikipedia, n.d.)

Which have generally been acclaimed as trhe most successful? Why?

I was surprised by all of those are films based on his works. Unfortunately, I have heard of 'paycheck' and 'total recall' and the only thing i have watched is 'minority report' starring Tom Cruise. I think its a great science-fiction film and such a nice acting of him. It was huge back then, as i remember. I would say its the most famous and popular film ever made of reflecting his works in the last decade.

References

http://en.wikipedia.org/wiki/Philip_K._Dick#Films_2

Week 7

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

Science fiction is simply a kind of fiction that use scientific discoveries or advanced technology (either actual or imaginary) and is defined as 'A literary or cinematic genre in which fantasy, typically based on speculative scientific discoveries or developments, environmental changes, space travel, or life on other planets, forms part of the plot or background' (answers, n.d.) so I guess science fiction is a branch of speculative fiction. Brown (2001) also supports this by saying 'Dick's finest book, and one of the very best science-fiction novels ever published' and so on. Therefore I believe The Man in the High Castle is a science-fiction that comes under the speculative fiction.

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

The central theme of this novel is, as Brown (2001) states, 'fractured realities presented a future that, like all good science fiction, was less prescriptive of what was to come than descriptive of the present.' Then he goes on to say Dick's 'concerns was what constitutes a true human being, as opposed to a fake' and SF is inviting us to explore another 'what if' world that we can compare with our own ordinary world. He, then, summarises 'The Man in the high Castle, in its depiction of little people living small lives with honour and confusion and in its examination of the conflicting ideas of totalitarianism and Eastern philosophy.'

References

Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle(p.v-xii). London: Penguin.

Science fiction, Retrieved October 20, 2010, from Web site: http://www.answers.com/topic/science-fiction

- Week 12 -

- How have game shows influenced reality TV?

The number of elements shows that reality TV has influenced entertainment formats such as soup opera or game shows. The entertaining genres could one of the genres that contribute on the development of reality programming.

First of all, the several aspects of game show transported to popular factual programming. In fact, the different television quiz is fully formatted by the combination of luck, knowledge and skill that normally people facing life-transforming decisions in life (Hill, 2005). Every day I face decision-making although it is simple or complex. A series like Survivor which is the famous reality TV also includes the competitors facing life-transforming decisions for survive through the game (Hill, 2005). During the reality programming, it could approach to the particular character’s personalities and actions.

The emphasis part of the programme is ‘the reveal’ (Hill, 2005). In Hill’s reading, the meaning of reveal is the emotional reaction of the contestants’ family like in American Idol and Project Runway. It also could be a physical difference which is covered in The Biggest Loser.

Moreover, “popular entertainment shows such as talk shows or game shows include interaction between non-professional actors and celebrities” (Hill, 2005, p.21). For example, Project Runway which is hosted by the model Heidi Klum and Tyra Banks is the host in America’s Next Top Model. The competitors of both two programmes are the normal people who want to be famous designer and model. I think it is a good idea to set the host with professional people in the reality TV. The participants might get a strong motivation from their admire experts when they want to abandon during the challenge. Also professional celebrities could give some advices or telling their experiences to encourage.

- How ‘real’ is reality TV?

As I answered the first question, reality TV is composed of various other genres’ formats such as documentary, talk shows or game shows. The notion of realism is centrally located in these genres. A number of television documentaries differently relied on the realism. “In terms of reality programming, the extent to which programmes such as Cops or Survivor address issues of realism, accuracy and truth is significant precisely” (Hill, 2005, p.20).

However, it might be hard to define that reality TV is fully formatted ‘real’. Although it is reality TV, may be some parts could delete or edit to make it in limited time. Throughout this work, sometimes, the fact incorrectly portrayed and misrepresented to audience. Therefore, I believe reality TV could not say it is fully show truly the real happens and events.

Reference:

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?

In Hill’s reading, there is no one definition of reality TV. The people describe the genre in several different ways. A number of definitions are competing to be called the reality genre. The reason is the reality genre is based on other genres like television genre or documentary genre.

Following these definitions are sourced by Hill’s reading. Peter Bazalgette describes reality TV as the human interest rather than reality that means it is popular factual programmes. Gary Carter prefers to define the genre as reality entertainment. Moreover, early 1990s television scholars also defined the reality TV. Steve Neale points out that reality TV includes the generic aspect of all cultural instances. “For Nichols, reality TV ‘includes all those shows that present dangerous events, unusual situations, or actual police cases, often re-enacting aspects of them and sometimes enlisting our assistance in apprehending criminals still at large” (Hill, 2005, p.47). I would like to define reality TV as Bazalgette’s opinion. It is the real television programming which deals with human lifestyle or humanity situations which familiar with our life.

- How has the documentary genre influenced reality TV and how it presents the real?

The formats of reality can commonly related to documentary genre as well as other pop genres. “There are a variety of styles and techniques associated with reality TV, such as non-professional actors, unscripted dialogue, surveillance footage, hand-held cameras, seeing events unfold as they are happening in front of the camera” (Hill, 2005, p.41).

These days, reality TV deals with anything or could be everything which is derived from people to pets and from birth to death. In fact, documentary does not provide any views of the world and on society. According to Hill (2005), the formats of documentary takes towards the social world are only one thing which is based on a belief that it can approach to the real. Through Hill’s reading, I do also believe that the reality TV is influenced the describing of lifestyle and real-life from the documentary genre. Constructing the reality TV with lifestyle or other real things which is influenced by documentary could be feeling more real and actual to audience because it is familiar with them.


Reference:

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

NO SCREENING THIS 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).

Week Nine

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


The mass involvement of fans plays an active role in the construction of cult TV. First an 'intertextual network' is created, in which fans discuss and explain textual similarites between programmes. Second, the term 'cult' is used to describe the reccurring distinctiveness in the programmes that relate to each other thus creating cult TV. This sense of 'distinctiveness' is then taken to another level when fans of what is termed cult TV, organise themselves socially into 'Appreciation Societies'. The formation of such groups 'can happen long after the initial broadcast of a TV programme, indicating that a TV show may inspire a fan following over time, and can gradually become a cult rather than necessarily being cult TV on its initial transmission' Hills (2004). Hills also mentions that as well as joining Appreciation Socities, fans of cult TV gather for conventions, where they can share interests creating a sense of communal fan distinctiveness.


With the internet, new media only increases the means of community: 'fans can gather together in virtual spaces as well in hotel function rooms; they can post interpretations, episode guides and fictions online as well as publishing them in fanzines; join Appreciation Societies or check their web page ...' Hills (2004). Obviously the internet plays a key part in keeping up with the 'community' and other like-minded devotees but also allows small-scale fandoms with a wider variety of cult TV programmes the opportunity to emerge.


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

The 9 defining characteristics of 'quality TV' as outlined by Wilcox and Lavery (2002) are as follows:

1. Quality TV usually has a quality pedigree

2. Desirable demographics notwithstanding, quality shows must often undergo a noble struggle against profit-mongering networks and non-appreciative audiences.


3. Quality TV tends to have a large ensemble cast

4 Quality TV has a memory.


5 Quality TV creates a new genre by mixing old ones

6 Quality TV tends to be literary and writer based.


7. Quality TV is self concious

8 The subject metter of quality TV tends toward the controversial


9. Quality TV aspires toward 'realism'.

After reading through these, i decided to apply these characteristics to the New Zealand series 'Outrageous Fortune' as a majority of the features mentioned rang true with the NZ series. In regards to the first characteristic, Rachel Lang and James Griffin (co-creators and writers) both have the experience to effectively back their series. Lang has more than two decades of experience as a writer, script, story editor and is one of the top drama creators in New Zealand. She like Whedon 'Buffys creator .. brings a certain cachet ... a significant creative force in network television' Wilcox and Lavery (2002).

Numbers 2,3 and 4 are more features that pass the test. Outrageous Fortune pulls big numbers but is not financially stable enough to carry on without funding which is why sadly this season could be the last one to air in the series. Despite its popularity, Outrageous Fortune cannot function like longstanding Shortland Street which in my opinion should be finished by now. As for the large ensemble cast, OF has this too. 'The core of Buffys excellent cast - .. Buffy Summers ... Willow Rosenberf .. Xander Harris, ... Giles .. has included many other important players as well' Wilcox and Lavery (2002) such as Angel, Cordelia, Oz, Spike etc are the equivalent of the West Family and Others (Falani, Kasey, Judd, Sparky etc). With the memory characteristic, OF frequently uses flashbacks and the characters reflect on this regardless if it hinders or aids them in their tasks. For example, in one season Loretta persistently tries to ward Pascalle off Nicky whom she believes is only after her money. Loretta only knows this because she used to be involved with Nicky and both were successful in their money scamming ways before the pair broke up.


According to Wilcox and Lavery (2002) Whedon 'assembled a group of writers .. who are able to think very much like he does', this once again features well with OF along with the idea of TV being 'self concious'. 'As any newcomer to the series quickly realises, Buffy constantly and pervasively draws on its own past history, but it casts its nets widely beyond its own developing text' says Wilcox and Lavery. Again il use Loretta as an example. In one of the earlier seasons before her character took a more womanly transformation, Loretta pursues a directorial debut by dabbing at the making of a pornographic film. This attempt however was dampened when her sister Pascalle was selected as the main role for the film with Loretta deeming this as unmoral and not right. There is also another situation where Cheryl West (mother) is run out of her own lingerie company (one she has built from the ground up) by her own son Jethro who believes he did it for the best.


Finally is the subject matter of OF controversial and does it aspire to realism? YES in so many different ways. In the very first episode of the series, the opening scene was a very graphic sexual act. There are also episodes where characters are seen selling and importing party pills, snorting coke, frequently smoking marijuana, having sex in public places, brutal beatings of one another, the inclusion of a transvestite escort as a re-appearing character. Obviously all the things iv mentioned can be to an extent related to by audiences. ALL of which are simply the tip of the ice berg of what else OF holds in its wings. With the exception of number 5, OF like Buffy is quality TV. It 'takes more risks, tackles more relevant issues more provocatively, does more with character, gives women juicier roles and goes deeper than movies do ..' Wilcox and Lavery (2002).




References

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.

- Week 10 -

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

As Braun (2005) explains the deconstruction of traditional literary notions of good and evil in Buffy The Vampire Slayer series through the characters. In Buffy’s series, each character’s characteristics are described ambiguously and complexly. The feature of evil character demonstrates both decent and demonic traits and behaviours, but good character may reveal opposite to evil characteristics (Braun, 2005).

Especially, ‘Angel’ character could be an example of the deconstruction of good and evil in Buffy. Angel who has romantic interest for Buffy always appeared whenever Buffy needs him or having a trouble. However, when Angel meet Buffy and kills her friend, he shifts from good to evil happened (Braun, 2005). Although Angel turned evil to good again, the character shows the comparison between good and evil notions. Buffy series took the notions of good and evil as a theme. In my opinion, Buffy The Vampire Slayer series want to describe the human’s complex moral by the themes and narratives through setting ambiguous character and its movement of behaviour.

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

Buffy is influenced by the romantic gothic tradition like Frankenstein which is written by Mary Shelley. The characters Adam, Buffy and the Scooby Gang reflect a modern reimagining of the Romantic ideology (Rose, 2002). As compare to Frankenstein, Shelley centrally focuses on the relationship between the creator and the morality of science. “Traditional literary Romanticism expresses admiration for a male Romantic hero who struggles with the opposing forces within his psyche” (Rose, 2002, p.135). Buffy is changing to the Romantic hero in Shelley’s story and reform to access the technology that Adam has.

Moreover, Buffy also provides a contemporary critique of the romantic tradition through the narrative. The story demonstrates Buffy as the Romantic female hero. Buffy is described as a tough and having extreme power which should keep it strong in the science fictional background (Rose, 2002). It is importantly related to the theme of Buffy The Vampire Slayer. The Buffy character implies the humanity and morality and also what results could occur to us.

References:
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_m0412/is_2_28/ai_64688900

Rose, A (2002). Of creatures and creators: Buffy does Frankenstein, in R.Wilcox & D. Lavery.(eds). Fighting theforces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.

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.

- 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?

There are three ways of cult TV definitions in Hills writing. As Hills (2004) states the characteristics of cult TV can be defined according to analysis of texts, secondary texts and fan activities. Hills develops the meaning of each these three definitions.

The Hills’s definitions imply that the context of cult TV could be related to the other genres. That is why some characteristics of cult TV are similar to other pop genres such as fantasy and science fiction. For example, one of cult TV; Buffy The Vampire Slayer which we watched it in the class is contained science fiction features. “The fantastic nature of these hyperdiegetic worlds is also significant, as it provides each textual world with distinctive and characteristic rules for its operation; in the ‘Buffyverse’ wishes can lead us into scenarios akin to the ‘parallel dimensions’ of science fiction, and vampires are a kind of demon” (Hills, 2004, p.511).

Moreover, the inter-texts are repeatedly activated through explicit ways in cult TV. Hills supports the second definition with the view of cult TV in the media field and how it related to the primary texts. In ten episodes of Buffy The Vampire Slayer, the stories deal with an industrial and financial assessment of Buffy’s move as a secondary texts from the WB network to UPN and also coverage of a mooted Quantum Leap TV Movie (Hills, 2004). Buffy series are not just use primary texts. Likewise other pop genres also contain other genre’s feature as inter-texts in them.

The power of secondary texts could persuade people to the fan. Some cult fans are eager to analyse and support their own consumption of cult TV and it is important to their daily life and individualities (Hills, 2004). As Hills (2004) explains this valuable noting refers that cult fans will always refuse to accept the process of commercialism or always identify themselves against consumers. I believe the power of fan activities are retain cult TV as well as other pop genres and are made for its fans. If there are no fans, there is no reason of pop genres exists. Through the critical insights and views of fans, it could be a chance to develop and make it better. Fan practices are the most essential part of all pop genres.

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

As I noted before, fan practices are the most essential and important to the whole pop genres. Hills states four fans’ roles and how it play in cult TV area.
Firstly, TV programmes are created into an intertextual network which is not familiar as an industry-led. Secondly, in texts of network, the term cult is distinctively used by fans. Cult fans often use the term ‘telefantasy’ as another expression of cult. Thirdly, cult TV fans form Appreciation Societies and that relates to activate a market for community which is the last fan role.

With Appreciation Societies is developing, the organisation becomes one potential market to others. Fans are centrally and importantly situated in media. “Fans also produce commentaries, fan fiction, episode guides and production histories that all work to sustain the distinctiveness of fandom as a community” (Hills, 2004, p. 519). It means fans that have lots of knowledge about their favoured cult TV are able to produce detailed analyses of its characters or narrative worlds. Media is centrally influenced by fan audience so it is impossible to consider without fans.

Reference:
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.

Week 10

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

According to Braun (2000), Buffy the Vampire Slayer contains characters that are often moral ambiguious, which results in a blurred line between good and evil. A good example of this is the character of Angel, who is a vampire and also Buffy’s love interest. When we first meet Angel he is a mysterious figure who eventually reveals himself to be a good guy, often saving Buffy when she is in trouble. However, after a sexual encounter with Buffy, he turns evil again and kills one of Buffy’s friends (Braun, 2000). Though later in the series, he does turn good again. It is this fluctuation between good and evil which is common in the show. Other examples are Oz, Anya and Spike. Oz is a sensitive, slightly geeky teenager who is also a werewolf, Anya was once a vengence demon but is now turned human, and Spike is a sort of anti-hero, a vampire who is initially bad but over the course of the series, becomes a regular in the “scooby gang.”

Buffy the Vampire Slayer is a complex program which explores the theme of morality in a different light than a lot of other TV shows. Just like in reality, nothing is necessarily black or white, and few people are wholly good or bad, and I believe they try to capture this human complexity in Buffy.

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

As any with movies, tvs and books of any genre, they take ideas from, or build upon what has already been done in the past. We could say that what we know about vampires comes from“pioneer” vampire films/books such as Bram Stoker’s Dracula, Interview with a Vampire, and others that have been popular in the past. So when we look at True Blood and Twilight, which are quite new, it wil always have parallels to it’s predecessors, because we are just building upon we already know. Looking at True Blood, it is similar to Buffy in that there are a range of demons and magicals creatures apart from just vampires. In Twilight, it also features werewolves, is set in a high school like Buffy, and deals with the problems in dating a vampire. Only Twilight does it about a thousand times worse. I don’t think there are specific things that Buffy influenced in these two series, it is more general things to do with the vampire genre.

References

Braun, 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

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.

According to Hill, there are 3 definitions of Cult TV. The first definition states that cult TV depends on texts, and these texts can be a variety of popular genres including sci-fi, fantasy, etc (Hills, 2004). What these cult TV texts have in common is that they have detailed and fantastic narrative worlds, show close non-romantic relationships, and do not provide viewers with narrative closure (Hills, 2004). A cult TV programme usually has one main question which is not answered, but always alluded to, and this is essential to the format of the show (Hill, 2004). This definition can be applied to other popular genres in that most shows are based around one single question, and over the course of the series, implores to seek an answer to said question. For example, who is the Doctor in Doctor Who? What is up with the island in Lost? Can Buffy save the world but also find true love? Etc.

The second definition is about how cult TV is viewed by the media, and how secondary texts provide insight into the primary text (Hills, 2004). They define cult as being fan-based, with fan zines, clubs, merchandise and conventions being an important part of cult “culture”. It also has to have something unusual about it which sets it apart from mainstream television (Hills, 2004). Other popular genres like sci fi, anime, comics and fantasy have similar definitions, and each have their own secondary texts such as Sci Fi magazine, Anime Insider, Fantasy magazine, etc. These genres have their own specific fan groups which seem to define the genre itself. The third definition is that cult TV depends on its audience. Fans of cult TV produce fan fiction, magazines, zines, websites, appreciation societies, and meet up at conventions (Hills, 2004). These activities is what keeps cult TV alive and makes it what it is. This is essentially the same for all popular genres, as mediums like comics, anime and sci-fi are very heavily fan-based.

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

Hills (2004) suggests that fans of cult TV are not only are devoted to the TV show and take part in fan activities, but that cult TV shows can define them as people. The whole genre of cult TV was created because of the people, and not because of the content or genre. The word ‘cult’ even refers to people, more specifically, admiration or enjoyment of a particular entity. Hills (2004) states that there are a number of ways that fans make TV shows into cult TV. Firstly, cult TV fans arrange TV shows into an intertextual network, or, they converse about many different cult TV shows that tend to be weaved together in an intricate matrix. Secondly, fans use the term cult to describe certain shows, thus making them into cult programmes. Thirdly, fans of cult TV make appreciation societies and go to conventions, which creates a sense of community (Hills, 2004). Even though fans do occasionally meet up in real life, the main way for cult TV to communicate is via the internet. The Internet has played a pivotal role in the formation of cult TV, as it gives people an outlet to talk to others about cult shows, and these people have a tendency to discuss less mainstream shows which we would consider to be cult TV (Hills, 2004). I think that cult TV can be defined as being entirely about the fans and fan culture, so without the fans, cult TV would not have existed.

References

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.

week 6

What are the underlying thematics of Princess Mononoke?
According to Napier, how does this anime problematise traditional (or conservative) constructions of gender, class and race?

I guess there two most important elements in this film.
As Napier (2005) explains, 'Miyazaki's work deals with the loss of a Japan that existed before the patriarchal stystem, a Japan in which nature, rather than humans, ruled.' Therefore, the first is that human beings' lives without nature is hopeless and miserable that we should live in harmony with nature as well as protect it. This is also seen by the director, Miyazaki, puts so much efforts on depicting the beauty of nature and it seemed the people in village lived in happy moments as when the nature was alive as opposed to they were in despair as the nature dies.

The second is that the important role of females that can do things as much as men do. There are more female main characters than man and those are all in powerful position or take important job/duty in the film. Female characters in the film, Lady Eboshi, San, and Moro are all portrayed as very strong yet also possess feminine beauty. For example, Tatara, the town, is ruled and managed by Lady Eboshi.

In comparison, the forest is ruled by a deerlike presence known as the Shishigami. Again, both are ruled by the one who are in the power, but the importance of the nature lies in that humans or even its the leader of Lady Eboshi, can do anything if the nature is destroyed by the humans desire.

This is futher supported by Napier (2005), the most important is one of subversion and defamiliarization. The film defamiliarizes two important icons in Japanese culture, the myth of the feminine as long-suffering and supportive and the myth of the Japanese as living in harmony with nature, often expressed through a union of the feminine with the natural.

How does it 'defamiliarise' its historical setting, according to Napier (2005)?

The plot of this film is not based on an actual historical event but in a sense of Japanese culture and society in notions of a history as belonging only to the court and the samurai warrior aristocracy and the idealized concepts of the premodern Japanese as a homogeneous race living in harmony with nature.

Napier, S. (2005). Anime: from Akira to Howl's Moving Castle. Hampshire: Palgrave Macmillan.

- Week 8 -

- How does Dick’s essay (1999; 1964) illuminate his use of Nazism as a motif in High Castle?

This week’s questions are reviewing the last week’s reading, The Man in the High Castle. The background of this book is based on the alternate history. In general, Dick is described as a philosophical relativist who found in SF the best medium for his opinions (Roberts, 2002).

Through the Dick’s essay, he emphasises and has confidence the idea of Nazism which is used as a motif. As I shortly explain the Nazism, it is a National Socialism which refers to the policy of racist nationalism in Germany from 1933 to 1945. “Naziism-which is right and proper, because that is the true topic, far more so than any novel or any review, and only proves that I am right: We are still very much afraid, still rightly so very much disturbed” (Dick, 1964, p.112). According to Dick (1964), The Man in the High Castle is sub-rational and psychological but it is not logical. He supports this idea by using phobia examples. Also the essay is expressed that the writer is having scary feelings and afraid of Nazism. However, when I was reading this part as a reader, I think the examples are not enough to support his illumination of Nazism in his essay.

- According to McKnee, what relationship did Dick’s ideas have to (a) Christianity (b) religion and philosophy in general?

Dick’s ideas are particularly created with two parts as ‘Christianity’ and ‘Religion, and philosophy’. The number of literary scholars who have observed Dick’s work define his religious writing as Gnostic and they take for granted his philosophy is totally coherent (McKnee, 2004). The conception of Gnosticism is a many religious movements which occur in early Christianity. Dick used Gnostic interpretations and applied them in his own works, for example, The Divine Invasion and The Man in the High Castle.

In The Divine Invasion, Dick takes a similar concept in science-fictional terms. The novel is described with Augustine’s spring of truth and it shows Dick’s belief in the authority of Christian Scripture (McKnee, 2004). One of the Christian forms of logos which are come from a various sources is deeply located in the notes for the development to The Man in the High Castle. The Christian concept of logos is more vividly remarked in The Divine Invasion. In my point of view, after I read McKnee’s reading, Dick’s notion of the piecemeal logos and the Augustinian are interrelated and overtly composed in his novel. “For Dick, the two functions of the logos-continual creation and individual transformation-were intimately linked, and he consistently identified God’s Word with Jeus Christ” (McKnee, 2004, p.43).


References:
Dick, P.K. (1995). Nazism and the High Castle. In Sutin, L. (Ed.), The Shifting Realities of Philip K. Dick (pp.112-117). New York: Vintage.

McKee, Gabriel (2004). A Scanner Darkly: Dick as a Christian theologian. In Pink Beams of Light from the God in the Gutter: the sciencefictional religion of Philip K. Dick. NY: U Press of America.

wk 5

Is anime a genre or a media? Is it a branch of film or another mode?

I guess its hard to decide but i would say it is a genre of a media and a form which allows people to enter a new world through media as it is generally used in TV, video, video games, films etc.

What place does animation occupy in Asian societies? How different is this across Asia? Is it a high or low cultural genre/media? how is anime culturally located?

According to Napier (2005), anime is a abbreviated term in Japanese pronunciation and became a new English word from 'animation'. This tells how Japanese animation has become so popular and well-known for its animation to Western world as well as Eastern. It is huge and massive in Japan as he states as 'mass culture', contrast to 'sub culture' in America. Anime is a popular cultural form that clearly builds on previous high cultural traditions. Not only does the medium show influences from such Japanese traditional arts as Kabuki and the woodblock print but it also makes use of worldwide artistic traditions of twentieth century cinema and photography. The issues it explores, often are familiar to readers of contemporary 'high culture' literature. Japaneses' animated works are a major part of the output of Japanese studios. Animated films are also far more important in Japan than in the West. Unlike cartoons in the West, anime in Japan is truly a mainstream pop cultural phenomenon. Anime is watched and accepted from little children to grandparaents. Its popularity is also can be seen in Korea especially in the last decade that i watched many of them and my friends as well. May not be not much as in Japan but i also know how it has been garderning its popularity.

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.

Week 9

1. The details of Assessment 2 are now available. This is due on Friday week 14. For this assessment you can choose to write either a short work of fanfic and an accompying commentary, or choose one of the essay questions.

Note: If you choose the essay, try and maintain the same writing style as the blogs. In the past, many students on hearing the word 'essay', returned to writing in a secondary school type of essay prose (terrible). For most of you, your blogs are actually more academic and closer to a good literary type of scholarship.

2. There is a Thurs screening this week of two Buffy programmes - this is compulsory as usual and I will be taking a register of attendence. Again, this week the room will be WE230 (click here for a map) and the screening will start at 12.10 - don't be late.

- Week 7 -

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

Speculative fiction is one of the literature works which are more highly imaginative fiction genres. Almost fiction genres are encompassed in the speculative fiction, for example, science fiction, fantasy, horror, supernatural fiction, superhero fiction, utopian and alternate history (Golden, 2010). However, speculative fiction focuses less on the technology and more on issues of social change (Goldschlager & Eos, 1997).

As a result, the literature genre of The Man in the High Castle is a science fiction, but as we view it broadly, it also could be in the speculative genre.

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

The major themes and concerns of The Man in the High Castle are related to the illusions with hiding reality. Throughout the novel, Dick proposes that the better world than The Man in the High Castle might exist somewhere (Brown, 2001). I found that the novel is concerned by the belief and faith to other worlds.

The Man in the High Castle belongs to the science fiction genre. Dick explores the features of SF through setting the background time of the novel; that is the Alternative World. As Brown (2001) explains the writer shows his imperative idea with metaphysics, perception of the actuality nature, and the power misuse by using the illusion factors of the SF genre. “The Man in the High Castle, in its depiction of little people living small lives with honour and confusion – and in its examination of the conflicting ideas of totalitarianism and Eastern philosophy – is perhaps Dick’s finest book, and one of the very best science-fiction novels ever published” (Brown, 2001, p.12).

- What does Dick (1995) himself theorise about the I Ching?

The theory of I Ching (The Book of Changes) used the synchronicity as a basis (Dick, 1995). According to Dick (1995), it is analytical and diagnostic, not predictive. This means, the book is not a means to predict what may exactly occur in the future time just may possibly happen. I think that is why it is used as a theme that appears in SF constantly like The Man in the High Castle.

I Ching theory is prominent and remarkable point in The Man in the High Castle. Three characters; Nobusucke Tagomi, Frank Frink and Juliana Frink are based on the theory of I Ching. As Dick (1995) shows the I Ching by diffused it and as a part of their cultural domination under the authority of those three characters.

References:
Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle(p.v-xii). London: Penguin.

Dick, P.K. (1995). Schizophrenia and the I Ching. In Sutin, L. (Ed.), The Shifting Realities of Philip K. Dick (pp.175-182). New York: Vintage.

Golden, J. (2010). What is speculative fiction: What literary genres & subgenres are considered speculative fiction? Retrieved 26, September, 2010 from http://www.squidoo.com/speculativefiction

Goldschlager, A. & Eos, A. (1997). Science fiction & fantasy: A genre with many faces. Retrieved 26, September, 2010 from http://www.sfsite.com/columns/amy26.htm

Week 4

How does Tolkien (1964) define fantasy? Compare and contrast this to the other definitions from last week's reader? Is Tolkien's notion of the 'faery story' linked to fantasy genre? How closely?

While i was reading his article, i found fairy-story and fantasy are interrelated to each other and hard to separate them that nearly the same genre so i just put them together all related things. The one i found is that both are related to the supernaturalism and magic. There are always found a number of supernatural and magical symbols in those two genres, especially in that when they describe the beauty of nature as Tolkien (1964) defines 'the realm of fairy-story is wide and deep and high and filled with many things: all manner of beasts and birds are found there; shoreless seas and stars uncounted; beauty that is an enchantment, and an ever-present peril. This can also be the definition of fantasy genre. In addition, he considers Faerie contains many things besides elves and fays, and besides dwarfs, …it holds the seas, the sun.. and the earth, and all things that are in it: tree and bird, etc. His notion of faery story is the one that involves a faery. The other supporting definition of fairies i found is that 'supernatural beings of diminutive size'. Another one he defines is, a fairy-story is one which touches on or uses Faerie, whatever its own main purpose maybe: satire, adventure, morality, fantasy. Faerie itself may perhaps most nearly be translated by Magic, magic of a peculiar mood and power. Attebery (1980) also states, the fantasy treats impossibilities and magical objects.

References

Attebery,. B. The Fantasy Tradition In American Literature: From Iriving to Le Guin. Bloomington: Indiana University Press, 1980, 1-10.

Tolkien, J. R. R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.

Week Six

According to Napier, how does this anime problematise traditional (or conservative) constructions of gender, class and race?

The use of females in male-type roles in Mononoke problematises traditional constructions of gender, because normally you would have males in charge of a village or taking a group of people into battle. In a society where most likely a male is the provider for his family and the female is someone who nurtures her children, the film Princess Mononoke says otherwise. There are three main female characters that portray their independency in their domain – San, Moro, and Eboshi. San and her adoptive wolf mother – Moro who fight to protect the forest from the humans (namely Eboshi and her village people); Eboshi, who takes in outcasts and people who have incurable diseases and gets them to work. She’s also involved with the military, hence the reason why she’s out to destroy the Shishigami (Cavallaro, 2006).

In Princess Mononoke, we find that a female is the leader of the Tatara. Napier, 2005 says that if Lady Eboshi was a male character, the film would’ve been less-interesting and also the audience might’ve perceived the character to be typical of a male going against helpless nature. “Without any apparent family ties or hint of male support, she rules Tatara independently” (Napier, 2005) Male leaders such as the emperor and the court struggle to maintain powers that are beyond their control, so, guidance is sought from females – one, from a wolf, and the other from a leader who manufactures weapons. San and Eboshi are capable of living independent lives where the male figure isn’t needed; One of the reasons why this is so is because they’re too preoccupied with other things – “San with her companions in the natural world, Eboshi with her industrialising community” (Napier, 2005).


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

Miyazaki had created a story about a girl who was raised by wolves; this story however was not in animation form at the time (1980). It wasn’t until his other work in 1995 - Whisper of the Heart had produced extra money that he went back and revisited the idea/story he had earlier. This resulted in the creation of the animated film Princess Mononoke that came to a total of $19.6 million to produce (Cavallaro, 2006).

New equipment/technology had to be created for certain parts of the film – the snake-like feelers on the angry Boar when it charges for Ashitaka and Yakul required technique that had to be done by a computer generated 3D wiremesh model – this was created especially for that scene (Cavallaro, 2006). Another technique used for the creation of the film was Digital Composition, Cavallaro talks ‘layers’, and how each layer depicts one set of elements such as shadows, backgrounds of mountains in the distance, etc. So, the more detailed a particular scene was, meant that there were quite a lot of layers used for it (Cavallaro, 2006)

In regards to the amount spent on making this film I think it’s safe to say that $19.6 million is a fare amount in terms of all the technology and techniques used to produce it. I didn’t know such technology even existed, but it just goes to show the great lengths Miyazaki (and other animation film producers) went to create this film, even to the extent that new technology was created.


Reference List

Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.

Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave Macmillan.

Week 3

How has fantasy as a genre been defined? Find at least five formative definitions in Attebery (1980).

In Attebery (1980)‘s article, according to W. R. Irwin, fantasy is pointed out as ‘an overt violation of what is generally accepted as possibility’ and ‘whatever the material, extravagant or seemingly commonplace, a narrative is a fantasy if it presents the persuasive establishment and development of an impossibility, an arbitrary construct of the mind with all under the control of logic and rhetoric (p. 9).’ Fantasy, then, presupposes a view of exterior reality which it goes on to contradict. It is, as J. R. R. Tolkien said, ‘founded upon the hard recognition that things are so in the world as it appears under the sun; on a recognition of fact but not slavery to it.’
Again, according to Attebery (1980), the fantasy is defined as any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law. It can involve beings whose existence we know to be impossible, like dragons, flying horses, or shape-shifting men. It can revolve around magical object, and it can proceed through events that violate fundamental assumptions about matter and life. Fantasy treats these impossibilities without hesitation, without doubt, without any attempt to reconcile them with our intellectual understanding of the workings of the world or to make us believe that such things could under any circumstances come true.

Can the genre legitimately be defined by examples?

Of course, it can, I believe, by those of impossible things such as magical objects that are defined as above. Attebery (1980) argues by demanding a straightforward treatment of impossible characters, objects, or events, we can distinguish between fantasy and related genres. A good example, in Harry potter, there is flying cars and brooms

References
Attebery,. B. The Fantasy Tradition In American Literature: From Iriving to Le Guin. Bloomington: Indiana University Press, 1980, 1-10.

wk 2

• What changes when a graphic novel is animated?

I think the greatest loss in animating graphic novels is the loss of the readers’ interpretational freedom or closure. Comic panels offer a ‘staccato rhythm of unconnected moments’. Via closure we connect, with imagination, these moments and mentally construct a continuous reality. Animations remove this possibility of closure because they already provide a continuous timeframe and therefore remove or limit our ability to imagine.

• What audience does the animated version of The Blue Lotus target?

In my opinion, it appeals to everyone old to young, but because it is quite classic and bit a bit dated, it may target more to middle aged people. Also, perhaps Japanese and Chinese as well as it highlights the Japanese invasion and there is a young Chinese boy who become friends with Tintin.

• What does Baetens (2001) mean by ‘monstration, ‘graphiation’ and the graphiateur’?

These terms are derived from Traces en cases by Philippe Marion (1993).

Marion proposes to call ‘graphication’ the graphic and narrative enunciation of the comics, and ‘graphiateur’ the agent responsible for it. The analysis of lines, contours, and colours, both of the drawings and of the letters and words, can give an idea of what the graphiateur and his or her graphiation is like provided. Graphiation is at its strongest in a drawing that is in the stage of a rough copy or sketch. Monstration is to analyze the specific narrative situation of movies as the hierarchical combination of several types of narration, in other words, the narrative instance of a film the ‘image-narrator’ or ‘great image-maker’. It is also called as ‘narration’, that narrative enunciation is split between what on the one hand, according to Gaudreault.

References

Baetens, J. (2001). Revealing Traces: a new theory of graphic enunciation. In Varnum, R. & Gibbons, C. (Ed.). The Languages of Comics: word and image, (pp. 145-155). Jackson: U P of Mississippi.

Week Five

Is it a high or low cultural genre, according to Napier (2005)?

What was seen to be only available in Japan (anime) was now being exported to other countries such as Korea, Taiwan, Thailand, UK, Europe, etc. According to Napier, anime is a high cultural genre. Of this he says “Japan has been known for such “high cultural” products such as haiku, zen, and the martial arts, the Japan of the 1990’s began to develop a new export, animated films and videos – anime”. (Napier, 2005)

Anime is growing rapidly, TV channels are devoting time for anime to be aired for the public; video stores have devoted whole sections for anime; when the popular TV show (at that time) was airing – Pokemon, KFC had a toy-give-away included with their children’s meals. However, animation wasn’t always a popular culture. It was mainly for children, and its attention was always distracted by “Japan’s superb live-action cinema” at the time. (Napier, 2005) Not only in Japan did this happen but also in the west where Otomo Katsuhiro’s – Akira , when first looked at was seen as something for children. But as more anime films were produced and exported out of Japan, it became more noticed and also, it was seen that anime was for everyone. Of this Napier (2005) states “anime cuts across generational lines to be embraced by everyone from children to grandparents”.

I think that it is a high cultural genre, not only in Japan but in other countries, also, the fact that the majority of work that is produced within Japanese studios are animation says a lot about its demands from people who enjoy animation within and out of Japan viewed by all ages making anime, a high cultural genre.



What is the ‘shojo’ and how often does it function in anime?

Anime doesn’t refer to technology and stunning art forms alone, but also includes Shojo. Shojo means young girl, it is produced for young girls aged 12 and 13. The director of Mononoke – Miyazaki has created his female characters to be shojo-like in terms of their age and general appearance. In his films that are more of a timeless-dreamland type, shojo’s or heroine characters are “active, independant, courageous and inquisitive”. But later on he declared that he was ascertained to fend off representing female characters as “play toys for Lolita complex guys or as pets”. This is evident in one of his films – Princess Mononoke where San’s blood stained face defiantly confronts the viewer. The image would seem to connote a wholly savage disposition. Yet, the cause of San’ ferocious appearance is actually a deeply nurturing act, namely her attempt to suck a bullet out of the Wolf God’s body. (Cavallaro, 2006)


Reference

Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki. London: McFarland & Company.

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’sMoving Castle (pp. 3-14). Hampshire: Palgrave/ Macmillan.