How does new-media (the internet, cell-phone technology, etc) play a significant role in the success of reality TV, as well as cult TV series such as Buffy?
The new-media technologies such as internet and cell phones means that people can put their say in whether it is via text message or online. This is very popular for game shows such as American idol where the viewers at home vote for their favourite contestant to save them from being sent off the show. The format of people ringing and texting in adds to the strong economic performance in the television marketplace (Hills, 2005).
The internet is also a significant factor for why reality TV and cult TV is successful. You can find almost all of the Buffy episodes on there and watch them over and over again, along with other cult TV series. This is also a place for fans to go and interact with other fans of the same TV shows as mentioned in my earlier postings. The internet has opened up the boundaries of fandom and allows more people to participate and engage in fan activity and fan culture. As the fandom on the internet increases, a wider variety of TV shows are emerging for fans to discuss and appreciate with each other, especially reality TV shows. The fans combined with new-media technology are the reason that shows such as Buffy still live on and are successful even though they are no longer shown on TV.
Why is reality TV so popular for both programme makers and TV viewers?
Reality TV is popular for the viewers because of the interaction that is open for them and the unexpected drama that can break out on the screen in any second. It is real people in real life situations, not actors in made up scenarios who they are watching. In some game shows such as American Idol, viewers help decide the fate and outcome of the contestants. This is where it is also popular for program makers because the viewers are texting and calling in to place their vote and are then going to want to watch the show to see who gets voted off. This makes the rating of the TV show increase which is want the program makers want.
Shows such as ‘Who wants to be a millionaire’ are also popular for TV viewers as it is a game show for ordinary people, you don’t have to be gifted with a singing voice to go on a show and win money – like American idol. People watching can also play along with the game show and have the appeal that they one day might get to go in the hot seat and participate.
The public attraction to Reality TV is growing more each day and there is no sign of it slowing down so this is why it is such a popular genre for programme makers to continue making. It’s simple, if the audience loves it, then keep making it.
References:
Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15 – 40). Oxon: Routledge.
Sunday, October 31, 2010
Week 11 - Reality TV
How does Hills define reality TV?
Hills (2005, p.41) starts his Reality genre chapter off by stating, "The category of reality TV is commonly used to describe a range of popular factual programming. 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 camera"
After exploring the definitions of what other people believe reality TV is, Hills finishes by saying “there is no one definition of reality programming, but many, competing definitions of what has come to be called the reality genre. This is because the reality genre is made of a number of distinctive and historically based television genres, such as lifestyle, or documentary.” (2005, p. 54)
The definitions ranged from a 26 year old real estate agents perspective, to the BBC stating 6 categories that structured the new genre. People seemed to have their own opinion on the matter but it all came down to everything being real. Real people, real places, real situations. Our televisions are infused with reality TV programs whether it be Master chef on TV 1, Motorway patrol on TV 2 or following families around such as ‘Keeping up with the Kardashians’ and ‘Kendra’ on the E! Channel.
How has the documentary genre influenced reality TV and how it presents the ‘real’?
In 1960, free cinema documentaries took off and TV essentially became the home of documentary, much to the dislike of documentary makers. Common features of documentaries in the 20th century consisted of things such as edgy, shaking camera work, use of monochrome, focusing on regularity of every day life, lots of location filming, participant self – reflection (video diary) and inter weaving of different stories in soap opera style with cliff-hangers. These all influenced reality TV and all these features are present when watching reality TV giving the impression that it’s all real (Biressi & Nunn 2005).
Three of the earliest reality TV shows to be played on TV all portrayed a common documentary feature:
Docusoaps – Looked into Pet rescues and Children’s hospitals stories which all interweaved in a soap opera style.
Real World – A bunch of young people all living in the same house (like the more recent ‘Big Brother’) and often used a video diary to talk about their problems, experience so far etc.
Cops – Real world crime that is sometimes caught on a hand held camera which results in the footage being shaky and ‘edgy’.
Direct cinema film maker, D. A. Pennebaker (as cited in the Power Point) once described the documentary genre by saying, “It’s possible to go to a situation and simply film what you see there, what happens there, what goes on.. And what’s a film? It’s just a window that someone peeps through.” I believe this description is also relevant to how reality TV presents the ‘real’ to viewers. We almost instantly believe that this is how Reality TV is made, that a camera just turns up and films what they see, what happens and goes on, as if we really are sneakily looking through a window at a real life situation.
References
Biressi, A. & Nunn, N. (2005). Real Lives, documentary approaches. In Reality TV: realism and revelation. (pp. 35-58) London: Wallflower.
Hill, A. (2005) The reality genre. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 14 – 40). Oxon: Routledge.
Hills (2005, p.41) starts his Reality genre chapter off by stating, "The category of reality TV is commonly used to describe a range of popular factual programming. 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 camera"
After exploring the definitions of what other people believe reality TV is, Hills finishes by saying “there is no one definition of reality programming, but many, competing definitions of what has come to be called the reality genre. This is because the reality genre is made of a number of distinctive and historically based television genres, such as lifestyle, or documentary.” (2005, p. 54)
The definitions ranged from a 26 year old real estate agents perspective, to the BBC stating 6 categories that structured the new genre. People seemed to have their own opinion on the matter but it all came down to everything being real. Real people, real places, real situations. Our televisions are infused with reality TV programs whether it be Master chef on TV 1, Motorway patrol on TV 2 or following families around such as ‘Keeping up with the Kardashians’ and ‘Kendra’ on the E! Channel.
How has the documentary genre influenced reality TV and how it presents the ‘real’?
In 1960, free cinema documentaries took off and TV essentially became the home of documentary, much to the dislike of documentary makers. Common features of documentaries in the 20th century consisted of things such as edgy, shaking camera work, use of monochrome, focusing on regularity of every day life, lots of location filming, participant self – reflection (video diary) and inter weaving of different stories in soap opera style with cliff-hangers. These all influenced reality TV and all these features are present when watching reality TV giving the impression that it’s all real (Biressi & Nunn 2005).
Three of the earliest reality TV shows to be played on TV all portrayed a common documentary feature:
Docusoaps – Looked into Pet rescues and Children’s hospitals stories which all interweaved in a soap opera style.
Real World – A bunch of young people all living in the same house (like the more recent ‘Big Brother’) and often used a video diary to talk about their problems, experience so far etc.
Cops – Real world crime that is sometimes caught on a hand held camera which results in the footage being shaky and ‘edgy’.
Direct cinema film maker, D. A. Pennebaker (as cited in the Power Point) once described the documentary genre by saying, “It’s possible to go to a situation and simply film what you see there, what happens there, what goes on.. And what’s a film? It’s just a window that someone peeps through.” I believe this description is also relevant to how reality TV presents the ‘real’ to viewers. We almost instantly believe that this is how Reality TV is made, that a camera just turns up and films what they see, what happens and goes on, as if we really are sneakily looking through a window at a real life situation.
References
Biressi, A. & Nunn, N. (2005). Real Lives, documentary approaches. In Reality TV: realism and revelation. (pp. 35-58) London: Wallflower.
Hill, A. (2005) The reality genre. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 14 – 40). Oxon: Routledge.
Wednesday, October 20, 2010
Week 12 Reality TV.
Why is reality TV so popular for both programme makers and TV viewers?
"Reality TV was the successful replacement of programmes with declining audiences, so they had the ability to increase ratings at peak television viewing times" (Hall, 2005).
In regards to programme makers;
As cited in Hall 2005, by Kilborn, 2003, Reality TV can continually reshape its formats and can appeal to a broad audience (Hall, 2005), an example of this from Hall 2005 is Temptation Island which brought in people aged 18-49.
"The size of the prize money is a clue to the scale of the show" (Hall, 2005).
Reality TV can be made locally and have been financially successful, even on a world-wide basis (Hall, 2005).
Now the viewers;
Viewers are generally interested in watching others in difficult situations to see what happens (Hall, 2005).
Viewers are interested in the human drama an example of this is, the "big fights, big tears, big tasks emotional tensions and psychological machinations of contestants who compete to win” (Hall, 2005).
"The shows can either incorporate ordinary people that the viewers can relate to, or celebrities, or a combination of the two, and cover a wide range of topics" (Hall, 2005). example of this ordinary people "The biggest loser", celebrities like when NZ had "Treasure Island" which had celebs on it, and the Australian Xfactor incorporates both as they are spilt into groups and the celeb is their "trainer" so they work together.
"Reality TV can give an audience suspenseful moments, rather than being boring" (Hall, 2005).
"viewer response to reality TV programmes can differ from country to country", (Hall, 2005) for example, programmes which we may watch in New Zealand may not have any interest to say people in Australia"
Viewers may not be subjected to watching the same programme continuously as reality programmes, for example, reality game-shows, “do not lend themselves to repeat viewing” (Hall, 2005, p. 38) which means that viewers can anticipate seeing something new.
How have game shows influenced reality TV?
“Interaction between non-professional actors and celebrities” (Hall, 2005) may occur. Programme example: The apprentice where the host is Donald Trump, he is a Millionaire and successful celebrity and the 'non professional actors' are working for him, as they want to be like him .
Having the audience participation can help to make decisions in regards to the programme and its participants An example of this is Big brother, as cited in Hall by Costera Meijer and Reesink 2000;10 said that "the voluntary locking up nine people during a hundred days in a house, watched continuously by 24 television cameras, to which the viewers at the intercession of the inmates, once in two weeks vote against one of the inmates who has to leave the house, until the last person to stay can be the winner" (Hall, 2005). Because this was a success it only made the television marketplace stronger.
“The reveal which is on the emotional reactions, for example, the programme participants or family members when the results of the show are displayed (Hall, 2005). These reveal can include a life changing experience, Like Idol, Next top Model and against he Apprentice.
REFERENCES
Hill, A. (2005). The rise of reality TV. In A. Hill, Reality TV: audiences and popular factual television. (pp. 15-40). Oxon: Routledge.
"Reality TV was the successful replacement of programmes with declining audiences, so they had the ability to increase ratings at peak television viewing times" (Hall, 2005).
In regards to programme makers;
As cited in Hall 2005, by Kilborn, 2003, Reality TV can continually reshape its formats and can appeal to a broad audience (Hall, 2005), an example of this from Hall 2005 is Temptation Island which brought in people aged 18-49.
"The size of the prize money is a clue to the scale of the show" (Hall, 2005).
Reality TV can be made locally and have been financially successful, even on a world-wide basis (Hall, 2005).
Now the viewers;
Viewers are generally interested in watching others in difficult situations to see what happens (Hall, 2005).
Viewers are interested in the human drama an example of this is, the "big fights, big tears, big tasks emotional tensions and psychological machinations of contestants who compete to win” (Hall, 2005).
"The shows can either incorporate ordinary people that the viewers can relate to, or celebrities, or a combination of the two, and cover a wide range of topics" (Hall, 2005). example of this ordinary people "The biggest loser", celebrities like when NZ had "Treasure Island" which had celebs on it, and the Australian Xfactor incorporates both as they are spilt into groups and the celeb is their "trainer" so they work together.
"Reality TV can give an audience suspenseful moments, rather than being boring" (Hall, 2005).
"viewer response to reality TV programmes can differ from country to country", (Hall, 2005) for example, programmes which we may watch in New Zealand may not have any interest to say people in Australia"
Viewers may not be subjected to watching the same programme continuously as reality programmes, for example, reality game-shows, “do not lend themselves to repeat viewing” (Hall, 2005, p. 38) which means that viewers can anticipate seeing something new.
How have game shows influenced reality TV?
“Interaction between non-professional actors and celebrities” (Hall, 2005) may occur. Programme example: The apprentice where the host is Donald Trump, he is a Millionaire and successful celebrity and the 'non professional actors' are working for him, as they want to be like him .
Having the audience participation can help to make decisions in regards to the programme and its participants An example of this is Big brother, as cited in Hall by Costera Meijer and Reesink 2000;10 said that "the voluntary locking up nine people during a hundred days in a house, watched continuously by 24 television cameras, to which the viewers at the intercession of the inmates, once in two weeks vote against one of the inmates who has to leave the house, until the last person to stay can be the winner" (Hall, 2005). Because this was a success it only made the television marketplace stronger.
“The reveal which is on the emotional reactions, for example, the programme participants or family members when the results of the show are displayed (Hall, 2005). These reveal can include a life changing experience, Like Idol, Next top Model and against he Apprentice.
REFERENCES
Hill, A. (2005). The rise of reality TV. In A. Hill, Reality TV: audiences and popular factual television. (pp. 15-40). Oxon: Routledge.
Week 12 - Reality TV 2
Games shows, are what really started the genre of Reality TV and made it what it is today. Hills (2005, p.31) states that “the reality game show has become an international bestseller since its arrival in 2000.” Before 2000, there were a few games shows on TV, which soon escalated into reality game shows today you will find them everywhere. Pick up your remote and you will bombarded with them. Games shows such as Who wants to be a millionaire, Deal or No Deal, American Idol, XFactor, etc. have taken the world by storm. It is all thanks to the games shows that these shows have been created. American Idol had such success that many shows like it have been made such as Britain's got talent, XFactor. even shows like The Apprentice, The amazing race, Fear Factor, Big Brother, dancing with the stars, Americas funniest home videos have been copied and watched all over the world because of the 'game show' like appeal. Without Games shows, Reality TV probably wouldn't of taken off as it has, games shows showed networks what audiences really wanted, there is something about the intentness of it all that makes viewers keep watching, and what better way than to have a tv show where you have to watch week after week to see you will be eliminated next like top mode, idol, etc.
Why is Reality TV so popular for both programme makers and TV viewers?
Reality TV has a certain spark about it. It attracts viewers no matter how trashy it is. They keep coming back for more, whether it is because of the drama, the suspense or because it is a secret look into the lives of others, no one knows why they keep watching, but Networks are going crazy for it. When something happens on these reality shows; like keeping up with the kardashians, the Bachelor, Daisy Rock of love, it isnt the media who find out about first, it is the audience, and it does feel pretty powerful to get a first look before anyone else. (well thats what it feels like anyway)
“This interactive aspect of Reality TV could be seen as placing the control of media, in the hands of the people who watch it” (Week 12 PPT) With shows like American Idol and XFactor, they give audiences the chance to vote, which makes them feel like they are apart of the show, so they vote and vote and vote, causing them to keep watching. This is what any TV network and programme makers hope for, their show is being constantly watched and talked about. The thing about reality tv is that, it is everyones guilty little pleasure, so it is not surprise that they get way more ratings than the typical soap Oprah on TV, even on the same prime time slot, Reality always wins, especially when celebrities are involved. This public advertising is why TV Makers love it, no matter what, people are going to watch.
References -
Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15 – 40). Oxon: Routledge.
Reality TV - Week Twelve
How have game shows influenced reality TV?
Hill states that “in the UK, the rise of reality TV was connected with the success of American tabloid TV,” Hill (2005, p.17). Here it is established that American tabloid TV such as game shows and quiz shows influenced the likes of Reality TV. Referring to the likes of game and quiz shows as an influence on Reality TV we can see that both hold very similar features. Also Hills (2005, p.31) states that “the reality game show has become an international bestseller since its arrival in 2000.” Therefore why wouldn’t programme makers use this style in order to construct what we know today to be ‘Reality TV’?
“This phenomenally successful quiz-show format draws on a central tenet of the reality format: that the game is open to ordinary people, not just prodigies,” (Week 12 PPT). This feature where the audience has the ability to interact with the programme, in such ways as voting polls on ‘Dancing with the Stars’ and ‘ask the audience’ as seen on ‘Who wants to be a Millionaire?’ makes this possible. Also “the contestants are portrayed as “real” people, and thus they are encouraged to relate details of their home and work lives and to reveal their thought processes to the audience, thinking out loud as the host patiently awaits for an answer.” Andrejevic (2004, p. 72). This whole level of intimacy you could say, really allows for the relation between the programme/subjects and the viewer and it makes the viewer feel like they are a valuable part of the programme when they can contribute.
“The show had tapped into the appeal of the real: fans hoped that they could be more than just passive viewers, that they might have a chance to participate in the show,” (Week 12 PPT). Using this approach towards Reality TV programmes such as ‘Dancing with the Stars’ shows us how the use of this whole game show idea like the voting style combined with the drama of the ‘behind the scene shots’ creates this whole ‘reality TV’ entertainment that is so successful and that we all like to watch.
Garey Carter also goes onto say that “for a show to meet the definition of Reality TV, it must incorporate an element of audience interaction”, Gary Carter (Cited in Andrejevic, 2004, p. 12). And this can be seen like mentioned afore on shows such as ‘Who wants to be a Millionaire’ and ‘Dancing with the Stars’.
Why is reality TV so popular for both programme makers and TV viewers?
The reason that reality TV is so popular with viewers is because of the interaction factor that is involved. Especially in game shows such who wants to be a millionaire and the likes. “This interactive aspect of Reality TV could be seen as placing the control of media, in the hands of the people who watch it” (Week 12 PPT). The viewer likes to feel as though they are in control and that ultimately they have a say in what happens on the show. And that is why the voting aspect is so valuable to programme makers because it is a simple process which makes the audience feel as though their thoughts and opinion are being valued. Normally it is the media who was seen to have full control of the way TV worked but now a day especially in Reality TV it has been put more in the hands of the viewer and this is why it has become so popular amongst the people who watch Reality TV.
Andrekevic goes onto mention that “the goal is not just to provide viewers with a sense of participation, but to keep track of them, to gather information from them, and to monitor their interest in the show,” Andrejevic (2004, p. 14). And this in turn is something which helps the programme makers out immensely as it allows for them to receive feedback and how to improve their show in order for them to receive more viewers etc.
Reference ListHill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15 – 40). Oxon: Routledge.
Hill states that “in the UK, the rise of reality TV was connected with the success of American tabloid TV,” Hill (2005, p.17). Here it is established that American tabloid TV such as game shows and quiz shows influenced the likes of Reality TV. Referring to the likes of game and quiz shows as an influence on Reality TV we can see that both hold very similar features. Also Hills (2005, p.31) states that “the reality game show has become an international bestseller since its arrival in 2000.” Therefore why wouldn’t programme makers use this style in order to construct what we know today to be ‘Reality TV’?
“This phenomenally successful quiz-show format draws on a central tenet of the reality format: that the game is open to ordinary people, not just prodigies,” (Week 12 PPT). This feature where the audience has the ability to interact with the programme, in such ways as voting polls on ‘Dancing with the Stars’ and ‘ask the audience’ as seen on ‘Who wants to be a Millionaire?’ makes this possible. Also “the contestants are portrayed as “real” people, and thus they are encouraged to relate details of their home and work lives and to reveal their thought processes to the audience, thinking out loud as the host patiently awaits for an answer.” Andrejevic (2004, p. 72). This whole level of intimacy you could say, really allows for the relation between the programme/subjects and the viewer and it makes the viewer feel like they are a valuable part of the programme when they can contribute.
“The show had tapped into the appeal of the real: fans hoped that they could be more than just passive viewers, that they might have a chance to participate in the show,” (Week 12 PPT). Using this approach towards Reality TV programmes such as ‘Dancing with the Stars’ shows us how the use of this whole game show idea like the voting style combined with the drama of the ‘behind the scene shots’ creates this whole ‘reality TV’ entertainment that is so successful and that we all like to watch.
Garey Carter also goes onto say that “for a show to meet the definition of Reality TV, it must incorporate an element of audience interaction”, Gary Carter (Cited in Andrejevic, 2004, p. 12). And this can be seen like mentioned afore on shows such as ‘Who wants to be a Millionaire’ and ‘Dancing with the Stars’.
Why is reality TV so popular for both programme makers and TV viewers?
The reason that reality TV is so popular with viewers is because of the interaction factor that is involved. Especially in game shows such who wants to be a millionaire and the likes. “This interactive aspect of Reality TV could be seen as placing the control of media, in the hands of the people who watch it” (Week 12 PPT). The viewer likes to feel as though they are in control and that ultimately they have a say in what happens on the show. And that is why the voting aspect is so valuable to programme makers because it is a simple process which makes the audience feel as though their thoughts and opinion are being valued. Normally it is the media who was seen to have full control of the way TV worked but now a day especially in Reality TV it has been put more in the hands of the viewer and this is why it has become so popular amongst the people who watch Reality TV.
Andrekevic goes onto mention that “the goal is not just to provide viewers with a sense of participation, but to keep track of them, to gather information from them, and to monitor their interest in the show,” Andrejevic (2004, p. 14). And this in turn is something which helps the programme makers out immensely as it allows for them to receive feedback and how to improve their show in order for them to receive more viewers etc.
Reference ListHill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15 – 40). Oxon: Routledge.
Week 10
In what way is Buffy influenced by the romantic gothic tradition?
According to Rose (2002, p.133), the cast of Buffy the Vampire Slayer “embody a modern reimagining of Romantic ideology.” She compares Buffy to the Romantic gothic novel Frankenstein.
There is a gothic genre present in both Buffy and Frankenstein as there are dark themes and emotional extremes such as fighting and killing. (Week 10 Power Point) The natural settings where these take place are mainly in remote dark places such as graveyards, bushes and old buildings all in gothic style at night time. Common features of gothic novels and TV shows are terror, mystery, the supernatural, death, hereditary curses and so on which we see in both stories. There is also a figure of a gothic villain, Adam in Buffy, and Frankenstein himself who hides away from social interactions and is ultimately self-destructable. But there were notable differences in the romantic ideology aspect in both stories as Buffy is a 20th century romantic hero with a feminine twist – she is strong, powerful and acts alone. Whereas Frankenstein was a 19th century male romantic hero was lonely, sensitive and misunderstood.
Yet how does Buffy also provide a contemporary critique of this tradition?
Rose (2002, p.142) states “The message of Buffy is essentially a hopeful one, as is the underlying ethic of romanticism itself. Romantic ideology suggests that answers lie within the self. We must reach inside, listen, and “learn” what our real nature is”.
When Frankenstein is created, he wants his creator’s acceptance as he yearns yet lacks for parental love. When Adam is first created he instantly kills his creator Walsh as he doesn’t want parental love because he has technology instead. Frankenstein then goes on to kill many innocent people whereas only a few innocent people are killed because of Adam’s existence. Romantic hero Frankenstein was stunting something important inside himself by rejecting community and in the end he does not die but leaves and his creator, Victor, pays the price.
This is where the significance of Buffy’s modern reimagining of Romantic ideology arises as she accepts the fact that she doesn’t have the strength to defeat Adam on her own. She understands that the most effective way to keep the humanity and defeat Adam, is the force of community. So Buffy’s friends perform a conjoining spell to enhance her strength with their individual strength so she can then defeat Adam. Buffy’s contemporary critique of the romantic gothic tradition is that “Without the combined efforts of the full community, it is impossible to defeat demons, both those made manifest and those that lie within” Rose (2002, p.142)
References:
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.
According to Rose (2002, p.133), the cast of Buffy the Vampire Slayer “embody a modern reimagining of Romantic ideology.” She compares Buffy to the Romantic gothic novel Frankenstein.
There is a gothic genre present in both Buffy and Frankenstein as there are dark themes and emotional extremes such as fighting and killing. (Week 10 Power Point) The natural settings where these take place are mainly in remote dark places such as graveyards, bushes and old buildings all in gothic style at night time. Common features of gothic novels and TV shows are terror, mystery, the supernatural, death, hereditary curses and so on which we see in both stories. There is also a figure of a gothic villain, Adam in Buffy, and Frankenstein himself who hides away from social interactions and is ultimately self-destructable. But there were notable differences in the romantic ideology aspect in both stories as Buffy is a 20th century romantic hero with a feminine twist – she is strong, powerful and acts alone. Whereas Frankenstein was a 19th century male romantic hero was lonely, sensitive and misunderstood.
Yet how does Buffy also provide a contemporary critique of this tradition?
Rose (2002, p.142) states “The message of Buffy is essentially a hopeful one, as is the underlying ethic of romanticism itself. Romantic ideology suggests that answers lie within the self. We must reach inside, listen, and “learn” what our real nature is”.
When Frankenstein is created, he wants his creator’s acceptance as he yearns yet lacks for parental love. When Adam is first created he instantly kills his creator Walsh as he doesn’t want parental love because he has technology instead. Frankenstein then goes on to kill many innocent people whereas only a few innocent people are killed because of Adam’s existence. Romantic hero Frankenstein was stunting something important inside himself by rejecting community and in the end he does not die but leaves and his creator, Victor, pays the price.
This is where the significance of Buffy’s modern reimagining of Romantic ideology arises as she accepts the fact that she doesn’t have the strength to defeat Adam on her own. She understands that the most effective way to keep the humanity and defeat Adam, is the force of community. So Buffy’s friends perform a conjoining spell to enhance her strength with their individual strength so she can then defeat Adam. Buffy’s contemporary critique of the romantic gothic tradition is that “Without the combined efforts of the full community, it is impossible to defeat demons, both those made manifest and those that lie within” Rose (2002, p.142)
References:
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?
Hills (2004) states: "It is created by fans rather than media producers. Such a view emphasises and celebrates fan audience power, claiming 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." Producers rely on the fans to acquire an interest for the cult TV shows because the term ‘cult TV’ is obtained mainly through the audiences’ passion for that certain TV show. If the audience do so for the original cult programs then they will generally follow the new shows that are aired with the same frame of mind which is what the producers aim for.
These fans aren’t just people who enthusiastically sit down and watch the TV shows weekly, they take it further by interacting with other cult TV fanatics, mainly online. Cult TV gives fans freedom to write numerous fan fiction stories based on their favourite episodes where they can change the plot, characters or just the start and ending. True fans also analyse and appreciate each text and defend all negative portrayals and views of common fan cultures. The fans let cult TV alter their lifestyle and identity as they become “so keen to legitimate, defend and analyse their own consumption of cult TV,” Hills (2004, pg.517).
The fact that "Fans of cult TV create a market of memorabilia, merchandise and props that relate to their much loved tv shows, even along after cancellation and mass-merchandising of these shows." supports Hills statement that “fans arguably create cult status in a number of ways,” (2004, pg 518)
How is new media central to this?
The media also plays a significant role in the construction of ‘cult TV’. Like everything, the media attempts to convince us (audience) to believe what it wants us to believe when viewing TV shows. The internet is the main place that cult TV fans go to, to find other fans and discuss their ideas and devotion to cult TV. Although, there are also “Appreciation societies” and yearly conventions that fans can also attend to share their interests which gives the fans their own culture and as Hills (2004, pg 519) states, “ Appreciation societies and conventions both give fandom a spectacular visibility, meaning that it can be stereotyped and represented in media coverage”
The internet has opened up the boundaries of fandom and allows more people to participate and engage in fan activity and fan culture. As the fandom on the internet increases, a wider variety of TV shows are emerging for fans to discuss and appreciate with each other.
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.
Hills (2004) states: "It is created by fans rather than media producers. Such a view emphasises and celebrates fan audience power, claiming 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." Producers rely on the fans to acquire an interest for the cult TV shows because the term ‘cult TV’ is obtained mainly through the audiences’ passion for that certain TV show. If the audience do so for the original cult programs then they will generally follow the new shows that are aired with the same frame of mind which is what the producers aim for.
These fans aren’t just people who enthusiastically sit down and watch the TV shows weekly, they take it further by interacting with other cult TV fanatics, mainly online. Cult TV gives fans freedom to write numerous fan fiction stories based on their favourite episodes where they can change the plot, characters or just the start and ending. True fans also analyse and appreciate each text and defend all negative portrayals and views of common fan cultures. The fans let cult TV alter their lifestyle and identity as they become “so keen to legitimate, defend and analyse their own consumption of cult TV,” Hills (2004, pg.517).
The fact that "Fans of cult TV create a market of memorabilia, merchandise and props that relate to their much loved tv shows, even along after cancellation and mass-merchandising of these shows." supports Hills statement that “fans arguably create cult status in a number of ways,” (2004, pg 518)
How is new media central to this?
The media also plays a significant role in the construction of ‘cult TV’. Like everything, the media attempts to convince us (audience) to believe what it wants us to believe when viewing TV shows. The internet is the main place that cult TV fans go to, to find other fans and discuss their ideas and devotion to cult TV. Although, there are also “Appreciation societies” and yearly conventions that fans can also attend to share their interests which gives the fans their own culture and as Hills (2004, pg 519) states, “ Appreciation societies and conventions both give fandom a spectacular visibility, meaning that it can be stereotyped and represented in media coverage”
The internet has opened up the boundaries of fandom and allows more people to participate and engage in fan activity and fan culture. As the fandom on the internet increases, a wider variety of TV shows are emerging for fans to discuss and appreciate with each other.
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.
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