- 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.
Some interesting comments. You mention the parallel between Buffy and SF - the episodes we watched "The I in Team' and 'Goodbye Iowa' in a sense referenced SF, with perhaps a focus on its failings. It also made similar references to the novel Frankenstein, which in next week's reading by Anita Rose are discussed as a critique of the individualistic modernist conceptualisation of science and technology (that is still a dominant way of thinking today). I'll be interested in what you think about this.
ReplyDelete