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.