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.
Sunday, October 31, 2010
Tuesday, October 26, 2010
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.
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.
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.
Sunday, October 24, 2010
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.
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.
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.
Saturday, October 23, 2010
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.
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.
Thursday, October 21, 2010
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
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
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