Weeks 10 and 11 – Buffy.
1) Q. Wilcox and Lavery
(2002) identify 9 defining characteristics 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?
2) What role does Hills (2004) suggest the fans
play in the construction of cult TV? How is new media central to this?
3) 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?
What role does Hills (2004) suggest the fans play in the construction of cult T.V? How is new media central to this ?
ReplyDeleteIt is obvious that fans play a huge role in the continuation and success of any tv series. Without views these shows can potentially been taken of air as companies will start to lose money. New media is one of the most influential mediums in today's world therefore it's no surprise that cult tv has originated through this New Media being “Means of mass communication using digital technologies” (Oxford Dictionary 2016). On Top of watching their chosen series through media they also use platforms such as the internet to create websites and fan groups where fans all around the world can interact with each other and connect without being face to face. Cult tv is defined as ‘Shows which have a very dedicated following and very passionate and devoted fans.
The construction of cult tv is something that Hills has looked at in extensive depth and he believes that the fans and audience members play a huge and important part in this process. Being a fan of cult tv goes far beyond just being highly enthusiastic or extremely devoted towards a particular T.V series or character. (Hills, 2004, pg 517) states “It means to be able to attempt to account for, and defend one's fans passions.” Being fan of cult TV is what some people's lives revolve around. When this passion takes a defining role in someone's lifestyle, their obsession can start to shape their character and their identities. This is where full and ultimate fandom exists. Hills believes that cult tv can be defined through an analysis of fan practices and is highly dependant on fan activities. Where and how cult tv status arises can depend on what the dedicated fans do to express and indicate their fandom. Looking at cult tv as a “grass root phenomenon” as (Hills, 2004, pg510) puts it, people are in a position of assumption that the creation is definitely by fans and not media producers. This in turn heightens fan audience power, claiming that cult tv can neither be made, promoted or controlled by the ever growing ever powerful media industry. Rather than allowing the media to control yet another part of our lives cult tv simply relies on audience devotion. Fans of cult tv have organised themselves socially into appreciation societies. This can happen after an 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. The type of activities that fans engage in to create this cult tv atmosphere are carried out both online and in real life, fans can gather together in virtual spaces as well as in hotel function rooms, post interpretations such as fan fics online as well as publishing them in fanzines. They may also attend auctions for merchandise or memorabilia. The impact of the internet on the formation of new cult shows is huge as it makes it so easy for fans to connect and creates a wider arena for small scale organised fandoms with a wide variety of tv shows involved. These aspects of online fandom imply that the internet therefore the media does play a big part in this generation of cult tv status. Overall it is clear that Hills believes that fans play an important role in the construction of cult tv and along the the abilities and access to media we have these days cult tv is a powerful and growing phenomenon.
https://en.oxforddictionaries.com/definition/new_media
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. Pg 10 - 24
What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
ReplyDeleteI completely agree with Tayla that TV series rely on the support of the audience to continue production. Without viewers most series won’t get a second season. New media is an umbrella term for everything related to the internet and the relationship between technology, images and sound (Socha, & Eber-Schmind). Due to new media fans of TV series all around the world can communicate, share theories and bask in their fandoms. Hills (2004) mentions that the internet has had a large impact on TV cults in the way that people can gather in virtual spaces, make supportive websites and sell collectables. The arrival of new media has made it possible for fans to connect all over the world. However, Hills (2004) also said it may not have any impact at all.
Hills (2004) breaks cult TV into 3 sections “First, 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… Third, fans of what is termed cult TV have organised themselves socially into ‘Appreciation Societies.” Fans constructed cult TV with the passion and dedication they have for these TV series. It is not something that they (fans) just appreciate, it is an aspect of their lives. Some people make a living off of running blogs and fan pages for specific TV series. Cult TV doesn’t only apply to shows that are new and relevant, older shows such as Buffy the Vampire Slayer still has a very strong fan base. Holtzclaw (2010) supports Hills theories stating that cult TV is, “…the fervency of a program’s audience support, the degree to which its language and catchphrases enter its audience’s vocabulary, fans determination to amass collectibles and memorabilia, and conventions at which like-minded souls can congregate and share their passions.”
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
Holtzclaw, R. (2010). The Essential Cult TV Reader. University of Press Kentucky.
What role does Hills (2004) suggest the fans play in the construction of cult TV? How is New Media central to this?
ReplyDeleteHills suggests that cult television relies totally on audience take-up and devotion as a promotional tool as opposed to promotion by the media industry, and tells us that “cult status arises, ultimately, through an audience’s passion for a TV show.” (2004.) Jostein Gripsrud suggests that “proper fandom exists when an enthusiasm for some cultural object or other takes on…a totalizing, defining role in people’s lifestyles and identities. The term “cult” is also related to such instances.” (2002, p.119.) The Merriam Webster Dictionary defines a ‘cult’ as a “situation in which people admire and care about something or someone very much or too much”, or, “a small group of very devoted supporters or fans.” So in order for a show to be considered “cult television” its devoted fans must not only like the show; they must admire it and care about it to the point where it is not only a subjective interest for them. Instead it takes up a defining part of their lives.
So how do fans promote these shows in such a way that transforms them into cult television? Or rather television that just happens to have a cult following. “Fans arguably create cult status in a number of ways,” writes Hill, “first fans organise TV programmes into an intertextual network that is not recognizable as an industry led generic grouping.” (2004) In layman’s terms: Fans care enough about a show to create other works that are inspired and based around the show for the benefit of other die-hard fans. “Fans are able to produce such detailed analyses and knowledgeable fictions thanks to the fact that they re-view much loved TV shows again and again amassing vast amounts of knowledge. (Hill, 2004.) These fans produce commentary, fan-fiction, episode guides, production histories etc. and this causes their fandom to be more distinct and in-depth from others (2004.) What better medium to post, discuss and analyse these shows with other fans than on New Media forums such as social media, blog-spaces, and fan-sites? As well as this, “fans of cult TV gather for conventions, where they can share their interests. Again, this creates a sense of communal fan distinctiveness, working to knit together and sustain a fan culture since conventions can become annual events, held in fixed geographical locations.” (Hill, 2004.)
Finally, this devoted fan following also creates a market for the selling of memorabilia, merchandise, and props. (Hill, 2004). Most of these activities take place online. People can chat to one another about the shows and post their own fan fictions online for others to read and critique. The online aspect of this has created a more ‘main-streaming’ effect by “making it easier for fans to contact other like-minded devotees.” (Hill, 2004.) It also increases the possibility of fandoms emerging for a wider range of television shows.
References:
Gripsrud, Jostein (2002) ‘Fans, viewers and Television Theory’ in Philippe Le Guern (ed.) Presses Universitaires De Rennes: Rennes.
Hills, Matt. (2004) Defining Cult TV: Texts, inter-texts and fan-audiences.
Webster, Merriam: Dictionary. Retrieved 25/10/2016 from www.merriam-webster.com/dictionary/cult.
2) What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
ReplyDeleteI fully agree with Tayla and Shannel's posts in that the input of fans plays a significant role in how cult TV is portrayed since the fans are basically consumers of the product (cult TV) so without an audience and buyer; the particular product will go into a gradual decline.
Firstly, Cult TV refers to shows that have a very dedicated following/fanbase; and usually have very passionate and devoted fans. The size of the fanbase isn't important, and revolves around the 'quality over quantity' motto. A good example for this would be the TV shows Jericho, and Gilmore Girls, which in despite of it's small audience, managed to both get another opportunity to air due to fans actions(petitions/fanpages/forums).
According to Hills(2004), "fans organize TV programmes into an 'intertextual network' that is not recognizable as an industry-led, generic grouping" (p. 518) thus expanding the shows meaning and significance through reference to other "programs, films, books, comics, and other popular materials." (Jenkins, 1992) This is quite significant because it can allow other readers/fans, and producers especially, to analyze the show in a much bigger context thus invoking creative and innovative ideas of different parallels of events in the next episode/season; thus, it's an entryway for creativity and new, non-generic concepts for the story. Hills also states that the label 'cult' is used to make the intertextuality of the texts both original and distinct; furthermore, he also specifies that 'Appreciation Societies' are formed to appreciate the show, and can be organized long after the show has finished airing.(2004, p. 519)
Besides organizing these societies, there is a creative outlet for the fans in that they "produce commentaries, fan fiction, episode guides..."(Hills, 2004, p.519) along with creating merchandise for the show. The common thread with these activities is that they can be carried out both online and in real life; thus, new media is central to fans playing a big role in the construction of cult TV due to the fact that it opens a bigger realm for other fans to simply engage on a larger scale, and with other individuals who share the same passion and devotion for the show(s). If there were no fan response, then the TV show would have no significance and nobody would pay attention to it since there is no focus on the show, so putting these virtual fandoms on the Internet gives everyone a chance to be informed about the show and discuss it in an in depth manner.
Hills did discuss how Cult TV can be defined and created through the analysis of texts only, or secondary and inter-texts; however, this can only go so far since the fans opinion and subjective on those very 'texts' are what will either make or break the show. If the media producers ignore all input given by fans, then that would mean dismissing all the societies formed to pay homage to the show they write and in return, the media producers could satisfy their consumers by adding in scenes and texts that were proposed by the fandom, which can occur in some cases such as the video game 'Walking Dead', an episodic interactive drama, that relies on the public opinion and each season is made up of what their viewers had suggested or chosen from the given choices; so even though that isn't a 'cult TV show'; it does relate to this topic due to new media fandom interaction.
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
Jenkins,H. (1992). Textual Poachers: Television Fans and Participatory Culture, Routledge; London and New York
According to Wilcox and Lavery (2002), the number one characteristic is of quality tv "has good pedigree" meaning that the creator has high qualifications, worked on previous good projects in the past and had connections or relatives that also work in the film industry. A contemporary example is the tv series 'game of thrones' which is directed by an award winner for outstanding drama series, he's worked on successful projects in the past like 'house' and 'fringe'.
ReplyDeleteSecond characteristic, "Quality TV must undergo a noble struggle against audiences and networks". I feel like this statement is not as true now as it would have been in the past because of social media. If a show is considered to be good , it can become very-well known and popular overnight. Buffy struggled with viewer numbers and was eventually dropped by WD.
Characteristic number three is "Quality TV tends to have a larger than average cast" this is true again of game of thrones, vampire diaries, little liars and many contemporary series.
Number four, tv shows that have continuous narrative, every episode is connected to the previous. This can be applied again to most contemporary tv shows, like Mr Robot, Game of thrones, Stranger things e.t.c
the fifth characteristic is literary based or writer based, this means the tv show has a well developed story, e.g Game of thrones is based on Gorge R.R Martin's books
Number six, mixing in some quality genres, like the stranger things series is made to look like the 1980's horror sci/fi movies
number seven, 'self-conscious' good series often refer to other shows, for example is when the show modern family recreated a scene from another shoe 'breaking bad'
number eight, series that show controversial topics, game of thrones, even though very popular doesn't shy away from controversial topics like incest, rape, forced marriage, protrusion e.t.c
and finally, number nine of what makes a good show is aspiring to realism, this can be applied to a lot of tv shows because each of them show some form of realism, a good example is modern family because it is a show about a modern family life
Wilcox, R. & Lavery, D. (2002). Fighting the forces. Lanham, Md.: Rowman & Littlefield.