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.
Tuesday, October 19, 2010
Week 11 - Reality TV
Hey guys, the two questions up for this week are as follows;
How does Hill define reality TV?
First up Hill states straight off "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" (Hills, 2005).
So from these is that as cited in Hill 2005 that with a given variety of categories for reality TV, that it really is no surprise that the TV audiences have several different ideas for what reality programmes like for an example of this is British television viewers, definition of reality programmes; "people programmes, documentaries of the real life", a 26 year old real estate agent summed up the way viewers perceived content of factual programmes as " real life doco's like things which have happened to people, eg getting evicted, so from this is viewers equated reality TV ' with camera's following people around', so this means that an issue to overcome was to find a neutral category for reality programmes. cited Hall 2005.
Hill also states that Reality TV is “perhaps the most traditional industry term for Reality TV is factual entertainment.” (Hills, 2005), which he then goes on to state six categories they are; “documentaries and contemporary factual; specialist factual; current affairs and investigations; arts and culture; life skills; and new media,” (Hills, 2005) Reality TV is everywhere like for example the shows we watch on TV like Survivor, road cops, highway petrol and things on sky like MTV, kardashians are examples of reality TV.
Next question is; How has the documentary genre influenced reality TV and how it presents the ‘real’?
In the Biressi, A. & Nunn (2005) they state that the documentary genre has influenced the reality TV from the time since “Direct Cinema, and Free Cinema”.
To start off, documentaries was the ' original' reality TV. Some things that documentaries and reality TV have in common is 1) The fly on the wall camera technique, 2)
Documentaries influences reality TV in a sense of 'copies' from say wild animal shows, why i say this is because the animals get followed around with a camera crew, watching every move, and now that's what made reality TV as shows like Kendra and the Kardashians were made, as they are followed around all day, with a camera crew.
As noted in Biressi and Nunn (2005) they state "how the documentary genre exposed the everyday lives of the ordinary working class citizens and presented them in their raw and natural state while also letting the viewer see their struggles and pain as they go about their everyday lives"
An example of how reality TV and how it presents the 'real' is say Police Ten seven, this show isn't staged it shows what exactly goes on in a cops life and what happens on our streets, this is 'real' as you cannot stage something like someone being for the possession of drugs, i mean even it even shows the camera crew sometimes getting some grief, this is whats real, unlike say a show like Big brother where there is hidden cameras and it does seem 'real', but in saying that a lot of it would be scripted!.
REFERENCES
Hill, A. (2005) The Reality genre. In A. Hill, Reality TV: Audiences and Popular factual Television. (pp.14-40). Oxon: Routledge.
Biressi, A and Nunn, N. (2005). Real Lives, documentary approaches. In Reality TV: Realism and Revelation. (pp. 35-38) London: Wallflower.
NO SCREENING WEEK 12
No screening is planned for this Thursday (week 12). This will give you all an opportunity to catch up on your blogs and begin working on the second brief assignment (Fanfic or an essay).
Monday, October 18, 2010
Week 10 - cult TV
Hey guys this week I’m answering the following questions;
First up...... In what way is Buffy influenced by the romantic Gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?
" The initiative and the creature Adam, Buffy and the Scooby gang embody a modern re imaging of Romantic ideology that Mary Shelly herself would likely appreciated" (Rose, 2002).
In many ways Buffy is influenced by the romantic gothic tradition as it follows the redemption of man, the main men in the show are constantly trying to redeem themselves and get their souls back in order to become better people. Buffy is the main centre around this focus, which is the centre of the romantic gothic tradition their relationship is kind of dark, twisted and un-natural. With Buffy having relationships with Angel and Spike who both are vampires but have had their souls re installed to them. Most of the focus of these relationships are them fighting for good, and spending time within the evils of sunnyville. The show is basically a med evil setting with monsters, vampires, bugs, wolves, demons, all being the main focus of the show. The relationships have darkness about them that you don't see on television these days, it creates an electric tense vibe, and secretly the audience wants Buffy to be with the vampires, even if they are bad.
This provides a contemporary critique as the whole time Buffy just wants to be a regular 16 year old year, in a normal relationship, which she is obviously not. She often refers that she is not a damsel in destress that needs saving, although she does want her knight to come along.
How does Buffy deconstruct traditional literary notions of good and evil?
When watching Buffy the traditional literary notions are all in reverse. Buffy is a blonde, hot girl who wears short clothing, she isn’t afraid to get her hands dirty and sure knows how to kick butt. She isn’t some pathetic girl waiting for someone to come rescue her in every situation. In Buffy, you don't really know what is good and what is evil, according to The Ambiguity of Evil in Supernatural Representations, Braun states that Buffy is a good example, but not a new example of “using supernatural settings and characters to play out narratives of good versus evil,” Braun (2000, p.1).. The bad characters turn out to be good and the good turn out to be bad, it can get confusing at times, but I think that is what makes the show so interesting, a prime example of this is when Spike was once a evil person turns into a good person and ends up helping Buffy, now with Angel, he is a vampire and this is because of a curse given by one of his victims that Angel’s evil side is controlled by the human essence. When Angel meets Buffy, he helps Buffy to fight other vampires, which shows him being good.
The guys on the show are often being rescued by Buffy which is a big chance to what the "Literary notions" are. With hell being underground in Sunnyvillle, it is ironic that all these people are walking on top of it without being physically aware on what is beneath them. The characters no what is right and wrong, which is weird to have in a show as usually the bad guys have no conscious at all.
REFERENCE PAGE.
Braum, 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: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.
Thursday, October 14, 2010
Reality TV - Week Eleven
How does Hill define reality TV?
Hill (2005, p.42) defines ‘Reality TV’ stating that “perhaps the most traditional industry term for Reality TV is factual entertainment.” Yet he goes onto note that there are also six different categories which reality TV can fall under. Perhaps one example which Hill’s points out was ‘The Ship’ (a documentary of Captain Cook sailing around the North-East Coast of Australia). Between the documentary’s use of ‘fly on the wall’ filming style and use of “ordinary people as part of the experiment” Hill (2005, p.42) as well as BBC commissioning it to be ‘History and Education’, “made it difficult to categorise as specialist documentary,” Hill (2005, p.108).
The six categories dubbed, “documentaries and contemporary factual; specialist factual; current affairs and investigations; arts and culture; life skills; and new media,” Hills (2005, p.42) all fall under the main category ‘Reality TV’. This helps us to define exactly what the ‘new genre status’ actually is according to the BBC
Yet in the USA it is a different story again. Reality TV in this instance is coined as something slightly different and according to Hill (2005, p.44) “reality TV in the USA primarily refers to the type of formatted popular factual that has dominated primetime network schedules since 2000.” Contemporary reality game shows and talent shows are just two examples of reality TV in the USA.
Overall Hill (2005, p.55) sums this ups nicely by stating that “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.”
How has the documentary genre influenced reality TV and how it presents the ‘real’?
One of the main influences on Reality TV would definitely have to be the documentary genre. Documentary was coined as “the creative treatment of actuality” by John Grierson himself (1898-1972).
Some of the similarities which appear to be in both Reality TV and Documentaries are the use of fly on the wall filming technique as mentioned afore, valued intimacy, immediacy, the ‘real’ and the edginess of spontaneity. Also one other similarity which was pointed out in this week’s PowerPoint (slide 7) noted that “by entering the frame the filmmaker avoided the pretence of objectivity, thus creating a more equal or truthful relationship with the subject.”
This was one of French Documentary style filming traditions. It can also be reflected in some of the modern day Reality TV programmes which we watch. Take ‘NZ Next Top Model’ for example. While my sister was watching it the other night I noticed how the girls had a time where they could go to talk to their ‘visual diary’. It meant that there was no one in the room but themselves so they could let down their walls and just be themselves. Nothing was interfering with them as the object and they had no one to impress. This showed the real characters traits and personality and like (Ouellette and Murray, 2004) suggest the “use of hand held cameras or lack of narration is reminiscent of the documentary style - a form which claims to “provide direct access to the experience of the observed subject”.
Another interesting aspect which Ouellette and Murray pointed out was “research has found deep suspicion on the part of viewers towards the ‘real’ nature of behaviour captured in reality shows and docusoaps. Viewers overwhelmingly believe that people overact for the camera, and part of the appeal of the reality TV experience is revealing the concealed ‘true self’ or ‘real face ‘of a contestant.” And by using this time where the ‘object’ can escape from all that is surrounding them into a place where they can reveal the ‘real face ‘of the contestant via the video diary makes for so called good ‘reality TV’ but it is also a feature that is similar from Doco style television.
Other factors of reality TV which are also obvious in Documentary Style television are: voiceovers to construct narrative over observational shooting, subjects as ordinary culture/ordinary people (although often poetically staged), interweaving of different stories in soap opera style – cliff-hangers, the list goes on.
Reference List
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.
Hill (2005, p.42) defines ‘Reality TV’ stating that “perhaps the most traditional industry term for Reality TV is factual entertainment.” Yet he goes onto note that there are also six different categories which reality TV can fall under. Perhaps one example which Hill’s points out was ‘The Ship’ (a documentary of Captain Cook sailing around the North-East Coast of Australia). Between the documentary’s use of ‘fly on the wall’ filming style and use of “ordinary people as part of the experiment” Hill (2005, p.42) as well as BBC commissioning it to be ‘History and Education’, “made it difficult to categorise as specialist documentary,” Hill (2005, p.108).
The six categories dubbed, “documentaries and contemporary factual; specialist factual; current affairs and investigations; arts and culture; life skills; and new media,” Hills (2005, p.42) all fall under the main category ‘Reality TV’. This helps us to define exactly what the ‘new genre status’ actually is according to the BBC
Yet in the USA it is a different story again. Reality TV in this instance is coined as something slightly different and according to Hill (2005, p.44) “reality TV in the USA primarily refers to the type of formatted popular factual that has dominated primetime network schedules since 2000.” Contemporary reality game shows and talent shows are just two examples of reality TV in the USA.
Overall Hill (2005, p.55) sums this ups nicely by stating that “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.”
How has the documentary genre influenced reality TV and how it presents the ‘real’?
One of the main influences on Reality TV would definitely have to be the documentary genre. Documentary was coined as “the creative treatment of actuality” by John Grierson himself (1898-1972).
Some of the similarities which appear to be in both Reality TV and Documentaries are the use of fly on the wall filming technique as mentioned afore, valued intimacy, immediacy, the ‘real’ and the edginess of spontaneity. Also one other similarity which was pointed out in this week’s PowerPoint (slide 7) noted that “by entering the frame the filmmaker avoided the pretence of objectivity, thus creating a more equal or truthful relationship with the subject.”
This was one of French Documentary style filming traditions. It can also be reflected in some of the modern day Reality TV programmes which we watch. Take ‘NZ Next Top Model’ for example. While my sister was watching it the other night I noticed how the girls had a time where they could go to talk to their ‘visual diary’. It meant that there was no one in the room but themselves so they could let down their walls and just be themselves. Nothing was interfering with them as the object and they had no one to impress. This showed the real characters traits and personality and like (Ouellette and Murray, 2004) suggest the “use of hand held cameras or lack of narration is reminiscent of the documentary style - a form which claims to “provide direct access to the experience of the observed subject”.
Another interesting aspect which Ouellette and Murray pointed out was “research has found deep suspicion on the part of viewers towards the ‘real’ nature of behaviour captured in reality shows and docusoaps. Viewers overwhelmingly believe that people overact for the camera, and part of the appeal of the reality TV experience is revealing the concealed ‘true self’ or ‘real face ‘of a contestant.” And by using this time where the ‘object’ can escape from all that is surrounding them into a place where they can reveal the ‘real face ‘of the contestant via the video diary makes for so called good ‘reality TV’ but it is also a feature that is similar from Doco style television.
Other factors of reality TV which are also obvious in Documentary Style television are: voiceovers to construct narrative over observational shooting, subjects as ordinary culture/ordinary people (although often poetically staged), interweaving of different stories in soap opera style – cliff-hangers, the list goes on.
Reference List
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 13, 2010
Week 11- Reality TV
What signifiers of reality have emerged from the documentary genre?
There are 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 the camera. However, the treatment of 'reality' in reality programming has changed as the genre, has developed with one scene footage such as emergency and birth. Now days Reality Tv is associated with anything and everything. You can turn on the tv and find hundreds of shows based around reality. There are TV networks specifically for them. Many shows have emerged in the documentary genre such as lagona Beach, The Hills, the City, The Real world, The Osbournes, Keeping up with the Kardashians, Kendra, Police 10 seven, Airline, and even shows such as American Idol, X facotor and Master chef. Many celebrities are even getting their own 'reality' tv shows, as it is a way of upper their star appeal. Reality = Big ratings. A Reality tv category has even been included into the Emmy Awards as it is so popular and often gets more ratings than other shows on prime time TV.
How has the Documentary genre influenced reality tv and how it presents the 'real'?
Documentary genre has been a huge influence on reality tv and the so called notion of "Real". It gives viewers a chance to get an insight into what is happening in peoples lives or what is happening on the streets of their town. It is like the audience is in on this secret that they are not supposed to know about, and that power is addictive to addictive to audiences. "There is a huge future- just as theres been a huge past - in British tv for so-called real people on tv.. some of those so-called reality shows are more factual, some are more formatted, like pop idol. A lot of them used to be called documentaries, but people are now just more inventive with them." The Hills is a Prime example of how a documentary style of reality represents the 'real'. The setting is as though they are being secretly watched, the camera is around in the most private and complicated situations, every little piece of their lives is displayed on tv, and that got audiences hooked, the fact that they could be in on other peoples drama sent shock waves across the world, and soon it was a sensation. There was a contrivers e on whether or not it was fake, and the series finale when it shows the actors on a sound stage and ditching the scrips, just proves how they took us all for a ride, but it was affective. and it is still being talked about now. Documentary genre is a way for the camera to catch every moment, it is supposed to be like you are looking in the mirror of realism. Most of these reality shows are like that, but you do get the ones when it is scripted to look 'real'. "Far from being the faithful depiction of reality it is assumed to be realism through the various forms it has taken throughout its history, shows itself to be neither window nor mirror but a set of convections."
Rererences -
Hill, A. (2005) The Reality genre. In A. Hill, Reality TV: Audiences and Popular factual Television. (pp.14-40). Oxon: Routledge.
Biressi, A and Nunn, N. (2005). Real Lives, documentary approaches. In Reality TV: Realism and Revelation. (pp. 35-38) London: Wallflower.
Monday, October 11, 2010
NO SCREENING
There won't be a screening this week or next week - this will give you all more time to focus on the blogs and the assignment.
Thursday, October 7, 2010
Week Ten - Cult TV
How does Buffy deconstruct traditional literary notions of good and evil?
Reading through Beth Braun’s critical study on ‘The Ambiguity of Evil in Supernatural Representations’, she states that Buffy is a good example, but not a new example of “using supernatural settings and characters to play out narratives of good versus evil,” Braun (2000, p.1). She goes onto say that hundreds of films and literacy examples have focused on the exact same theme. Yet, referring back to Buffy as an example of good versus evil, we can see that by mixing this whole good versus evil theme with the likes of teenager ‘angst’, how this theme is a lot “less fixed,” (Week Ten Slide Show, Slide 6). This whole idea of good versus evil, as suggested, has been slightly deconstructed in comparison to traditional ‘good versus bad’ notions.
One example of this in Buffy is where ‘good’ and ‘bad’ becomes a lot less defined. Good characters such as Buffy herself, express emotions of anger and bitterness towards ‘Angel’ as she feels as though she has been betrayed by his change in ‘demeanour’ and ‘character’ since making love to him, something that he cannot help due to a curse he is under. Even Braun talks about this idea stating that “good characters may develop in frightening sinister ways; villainous ones surprisingly reveal complex and even selfless motivations,” Braun (2000, p.1). So this whole idea of Good characters and Bad characters is slightly more ambiguous.
“Although initially portrayed as a dark and somewhat morally ambiguous character, Angel quickly became a romantic interest for Buffy.” Braun (2000, p.2). Here we see that Angel has already undertaken a change from evil to good as he initially like Braun suggests, was an evil character who used to go round sucking innocent peoples blood. Angel eventually makes love to Buffy; “however the curse that gave him his soul states that if he ever experiences a moment of perfect happiness his vampire nature would return.” Here again we also see another change in Angel, from good back to evil. “Angelus begins to kill again and tries to destroy Buffy. Buffy struggles to come to terms with the idea that Angel is now her enemy,” (Slide 19). So like stated earlier, this whole idea of good and evil being fixed terms are challenged and changed from that of traditional ideas which have been portrayed in similar literacy genres.
Braun (2000, p.3) sums this whole idea up nicely stating that “what makes Buffy the Vampire Slayer different from many current television offerings is that it portrays these psychoanalytically charged themes so effectively through the use of supernatural mythology.” She also mentions how this “moral ambiguity” is also reflected throughout the “development” of other main characters on the show. Mainly referencing Anya, (a non-human) who “was once an immortal and avenging demon,” to the sensitive band member Oz who, for three nights of every month, transforms into a werewolf are fine examples of this whole moral ambiguity idea portrayed throughout Buffy the Vampire Slayer. “Current episodes continue this theme of the shifting nature of good and evil, as characters are portrayed as sometimes making not only bad choices but also morally wrong choices,” Braun (2000, p.3).
Reference List
Braum, 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
Reading through Beth Braun’s critical study on ‘The Ambiguity of Evil in Supernatural Representations’, she states that Buffy is a good example, but not a new example of “using supernatural settings and characters to play out narratives of good versus evil,” Braun (2000, p.1). She goes onto say that hundreds of films and literacy examples have focused on the exact same theme. Yet, referring back to Buffy as an example of good versus evil, we can see that by mixing this whole good versus evil theme with the likes of teenager ‘angst’, how this theme is a lot “less fixed,” (Week Ten Slide Show, Slide 6). This whole idea of good versus evil, as suggested, has been slightly deconstructed in comparison to traditional ‘good versus bad’ notions.
One example of this in Buffy is where ‘good’ and ‘bad’ becomes a lot less defined. Good characters such as Buffy herself, express emotions of anger and bitterness towards ‘Angel’ as she feels as though she has been betrayed by his change in ‘demeanour’ and ‘character’ since making love to him, something that he cannot help due to a curse he is under. Even Braun talks about this idea stating that “good characters may develop in frightening sinister ways; villainous ones surprisingly reveal complex and even selfless motivations,” Braun (2000, p.1). So this whole idea of Good characters and Bad characters is slightly more ambiguous.
“Although initially portrayed as a dark and somewhat morally ambiguous character, Angel quickly became a romantic interest for Buffy.” Braun (2000, p.2). Here we see that Angel has already undertaken a change from evil to good as he initially like Braun suggests, was an evil character who used to go round sucking innocent peoples blood. Angel eventually makes love to Buffy; “however the curse that gave him his soul states that if he ever experiences a moment of perfect happiness his vampire nature would return.” Here again we also see another change in Angel, from good back to evil. “Angelus begins to kill again and tries to destroy Buffy. Buffy struggles to come to terms with the idea that Angel is now her enemy,” (Slide 19). So like stated earlier, this whole idea of good and evil being fixed terms are challenged and changed from that of traditional ideas which have been portrayed in similar literacy genres.
Braun (2000, p.3) sums this whole idea up nicely stating that “what makes Buffy the Vampire Slayer different from many current television offerings is that it portrays these psychoanalytically charged themes so effectively through the use of supernatural mythology.” She also mentions how this “moral ambiguity” is also reflected throughout the “development” of other main characters on the show. Mainly referencing Anya, (a non-human) who “was once an immortal and avenging demon,” to the sensitive band member Oz who, for three nights of every month, transforms into a werewolf are fine examples of this whole moral ambiguity idea portrayed throughout Buffy the Vampire Slayer. “Current episodes continue this theme of the shifting nature of good and evil, as characters are portrayed as sometimes making not only bad choices but also morally wrong choices,” Braun (2000, p.3).
Reference List
Braum, 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
Tuesday, October 5, 2010
Week 10 cult two 2
Hey everyone, I have really enjoyed reading all your posts lately. can't wait to read more.
How does Buffy deconstruct traditional literary notion of good and evil?
Traditional literary romanticism express admiration for a male romantic hero who struggles with the opposing forces of his psyche, but in buffy it is in complete reverse. The main narrative is from a females point of view, with blonde hair i might add. She is the complete reverse of traditional literary notions, for one she is a female hero who is fighting against evil, but she also kicks butt at it. Rose states, Buffy employs Romantic ideology in contemporary contexts and terms and suggest alternatives within that framework. Buffy is forever fighting with evil and even had a very intense relationship with a good vampire which then turned evil again. The concept of good and evil is questioned in every episode, sometimes many characters don't even know what team they are playing for. Good and Evil is forever shifting, especially between the characters. "Evil" is often less fixed in these shows, with many characters demonstrating both decent and demonic traits and behaviors across episodes or seasons. "Good" Characters may develop in frightening sinster ways; Villainous ones many surprisingly reveal complex and even selfless motivations." Spike once "evil' turns 'good' and ends up help Buffy and her scobby gang throughout the seasons. Angel was "Good" often helping Buffy to slay Vampires in the first and second season, even going as far as saving her life. After they have a sexual relationship, he then turns evil again, turning into a demon trying to turn the world into Hell. Buffy puts her feeling aside for him and trys to slave the demon inside of him. Which she then succeeds in doing on the season 2 finale. The concepts and themes of this show are so different from traditional ones, as Buffy isint some damsel in distress, she can fight on her own, although she does invest in the help of her some her friends, proving that she is a true hero. In doing so, the show also affirms the possibility of retaining our humanity in an increasingly mechanized and impersonal world and posits ways in which we may do this. Buffy working from the modern strengths as well as weaknesses, powerfully announces the arival or evils that Mary Shelly foresaw. Buffy protrays rel human personalities and relationships, which alot of things don't when it comes to this genre. Good and evil is constantly being messed around with. Some characters even knowing what is morally wrong when they are evil which results in them trying to find some good in the world.
How do you think Buffy has influenced the contemporary vampire drama "True Blood" and the "Twilight" series of novels and films? Looking at every vampire drama that has surfaced in the last couple of years such as "True Blood", "Twilight" and "The Vampire Diaries" it is hard not to see where they got their inspiration from. Most of the female main characters are strong just like Buffy, they don't need to be protected, and all of them are hungry to learn about the vampire world. True blood's main character even has the blonde hair that Buffy had. In these shows and films, the real world doesnt know that these vampires exist. They hide away in their own little world, oblivious to humans eyes. In Buffy, this is the same thing. To humans the had no idea that vampires even existed, which worked for Buffy the Vampire slayer, as it left audiences in wonder about what was really happening in their own lives. The setting of Buffy (being mostly at a high school or chemetry) has defiantly influenced the vampire diaries as the show is based in there high school of mystic falls and often the main character is found in the chemistry where the vampires lurk around. Sookie in true blood, lives right next to the chemetry and in the season one finale got attacked by a vampire hating person and then found her vampire boyfriend sleeping in one of the graves. Twilight is more focused on the forbidden relationship of the mortal and the vampire, which i guess could be related back to buffy, since she couldn't be with Angel in the end, as he was what she she was fighting against. All in All i think that these dramas have been greatly influenced by Buffy, and i just wish Buffy was still on so it would be widely appreciated.
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.
Braum, 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
Monday, October 4, 2010
WEEK 7 SF
What does Brown (2001) identify as the central themes and concerns of the novel? What elements conform to the wider generic features of SF?
Brown (2001) identifies elements of the novel’s central themes and concerning of the novel. The novel should have literary style, psychological dept and delicate social understanding to the genre. Brown (2001) evaluates that Dick’s novel has these elements even his many books are SF genre; Dick displayed his sufficient knowledge, huge capability to get information. In addition, there are philosophy, psychology and religion in his novels. Also, Dick reflected his own life in his writing and ordinary person’s life in extraordinary circumstances illustrating effect of events on individuals. Although SF genre were regarded as the space adventures and mostly low quality involving crazy scientists, destructive alien monsters, lumbering stories of futuristic, technology with little awareness for the better style or characterization in the fifties, In America, Dick achieved very high quality of works on both SF and fiction.
What was does Dick (1995) himself theorise about the I Ching?
Dick (1995) theorises about the I Ching that when people on the situation of schizophrenic which happen things at the same time not according to the time like yesterday, today and tomorrow, they can come into the I Ching world which is the behind the world that has the power he or she does not know. People who are schizophrenic which means synchronicity can be helped by I Ching which tells every thing including what to do next or what is going to happen.
Reference lists
Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle
(p.v-xii). London: Penguin
Dick, P.K. (1995). Schizophrenia and the I Ching. In Sutin, L. (Ed.),
The Shifting Realities of Philip K. Dick (pp.175-182). New York: Vintage
Week Nine - Cult TV
What role does Hills (2004) suggest the fans play in the construction of cult TV?
Hills suggest that the role which fans play in the construction of cult TV is just one of the three definitions which also defines Cult TV. As suggested by Hills (2004, p.510), “cult status arises, ultimately, through an audiences passion for a TV show.” In this case, the fans, being the audience, are the ones who have constructed or come up with this whole concept called Cult TV. “Assuming that it is created by fans rather than media producers,” Hills (2004, p.510) shows how it is truly the fans influences and followings over a programme which deem weather it is worthy to be labelled Cult Television or not. Hills also questions the activities which fans of cult TV participate in in order to see who is labelling Cult TV. (How do fan activities produce cult status?”), Hills (2004, p.510).
The qualities of the fans which construct Cult TV were studied in order to see what kinds of people were influencing Cult television. According to Hills (2004, p.517), “fans of cult TV have played a part in generically re-organising TV programmes into the category of Cult.” Looking towards their characteristics, Hills notes that Cult TV watchers are generally more avid and higher in participatory. Also, influences from fans which determine Cult TV, involve things such as social gatherings and contributions to online fan-fic sites. “But [Cult TV] also allows temporal gaps in real life and narrative gaps in the fiction that support or provoke the creation of fan fiction.” And Hills also states that the benefit of Cult TV, unlike soaps, is that it allows fans to write fan fic as there is a big enough gap in the narrative. Cult TV is often based around “format-defining and endlessly deferred narrative question,” Hills (2004, p.518). With fan fic, there are endless possibilities for new and endless plots, another way in which fans can play a part in the construction of Cult TV via fan fiction forums.
So Hills (2004, p. 518), pretty much supports this idea stating that “fans arguably create cult status in a number of ways,” like mentioned above.
How is new media central to this?
New Media, such as blogs or online forums make it a lot easier for fans of Cult TV to distinguish their own ideas in relation to Cult TV. Like Hills (2004, p.519) says, the internet and new forms of media makes it “easier for fans to contact other like-minded devotees” and “the web increases the possibility of small-scale organised forums emerging around a wider variety of TV shows.”
It also allows for a wider audience and fan base as mentioned afore. “It has achieved this by opening up the boundaries of fandom allowing more people to participate in fan culture, and designating more television programmes… as worthy of fan activity.” Hills (2004, p. 519). With the help of the internet also, it can become more mainstream and a lot more people can come to appreciate and enjoy it.
So I guess with the likes of these ‘new medias’, it does become a lot easier to target a wider audience range due to the amount of people who use these new media forms on a day to day basis.
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.
Hills suggest that the role which fans play in the construction of cult TV is just one of the three definitions which also defines Cult TV. As suggested by Hills (2004, p.510), “cult status arises, ultimately, through an audiences passion for a TV show.” In this case, the fans, being the audience, are the ones who have constructed or come up with this whole concept called Cult TV. “Assuming that it is created by fans rather than media producers,” Hills (2004, p.510) shows how it is truly the fans influences and followings over a programme which deem weather it is worthy to be labelled Cult Television or not. Hills also questions the activities which fans of cult TV participate in in order to see who is labelling Cult TV. (How do fan activities produce cult status?”), Hills (2004, p.510).
The qualities of the fans which construct Cult TV were studied in order to see what kinds of people were influencing Cult television. According to Hills (2004, p.517), “fans of cult TV have played a part in generically re-organising TV programmes into the category of Cult.” Looking towards their characteristics, Hills notes that Cult TV watchers are generally more avid and higher in participatory. Also, influences from fans which determine Cult TV, involve things such as social gatherings and contributions to online fan-fic sites. “But [Cult TV] also allows temporal gaps in real life and narrative gaps in the fiction that support or provoke the creation of fan fiction.” And Hills also states that the benefit of Cult TV, unlike soaps, is that it allows fans to write fan fic as there is a big enough gap in the narrative. Cult TV is often based around “format-defining and endlessly deferred narrative question,” Hills (2004, p.518). With fan fic, there are endless possibilities for new and endless plots, another way in which fans can play a part in the construction of Cult TV via fan fiction forums.
So Hills (2004, p. 518), pretty much supports this idea stating that “fans arguably create cult status in a number of ways,” like mentioned above.
How is new media central to this?
New Media, such as blogs or online forums make it a lot easier for fans of Cult TV to distinguish their own ideas in relation to Cult TV. Like Hills (2004, p.519) says, the internet and new forms of media makes it “easier for fans to contact other like-minded devotees” and “the web increases the possibility of small-scale organised forums emerging around a wider variety of TV shows.”
It also allows for a wider audience and fan base as mentioned afore. “It has achieved this by opening up the boundaries of fandom allowing more people to participate in fan culture, and designating more television programmes… as worthy of fan activity.” Hills (2004, p. 519). With the help of the internet also, it can become more mainstream and a lot more people can come to appreciate and enjoy it.
So I guess with the likes of these ‘new medias’, it does become a lot easier to target a wider audience range due to the amount of people who use these new media forms on a day to day basis.
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.
Sunday, October 3, 2010
Week Eight - Sci Fi
How does Dick’s essay (1999; 1964) illuminate his use of Nazism as a motif in High Castle?
Dick’s essay was really interesting. His use of Nazism as a motif in High Castle was highlighted throughout. High Castle, as we know, revolved a lot around the I Ching. However Dick points out that there are also other strong references including Nazism. To me personally, like I have stated in my previous blog, “High Castle has a lot of history behind it such as WWII etc.” So this whole idea of Nazism being relevant to High Castle doesn’t really come as a surprise seeing as it does have a lot of WWII history behind it. One example where Dick references Nazism is right at the start of his essay, “Many moon have passed white man review my book Man in the High Castle, and have commented...on Nazism – which is right and proper, because that is the true topic, far more so than any novel…,” Dick (1964, p.112). He cuts straight to the point on this matter.
Also, the main reason that people have associated High Castle with Nazism is summed up by this quote from Dick himself, “we are still very much afraid, still rightly so very much disturbed, and, as Harry Warner so correctly said, we might identify with the war guilt with the Germans because they're so similar to us.” So all in all, we can relate due to this common factor; fear. “The man in the High Castle illuminates Nazism by highlighting how fear is sub rational.” Dick (1999).
There is this feeling of equality expressed throughout this Nazism motif. Dick goes onto express his feelings in regards to this, stating that “I am not a white man. My German friends are not German, nor my Jewish friends Jew’s. I am a nominalist. To me there are only individual entities, not group entities such as race, blood people, etc.,” Dick (1964, p.117). In reference to Nazism, this kind of sums up how Dick believes that the German’s were not a bad race and that we shouldn’t all classify them to be bad people (i.e. the Nazi’s), because as he realised some of the Germans were just as scared as the Jews themselves and at the end of the day they were all just individuals trying to survive just like everyone else going through the Depression. Also he describes how the everyday Germans actually felt sorry for the Jews, “German citizens poked bread into the sealed cattle cars carrying Jews to their death through the Reich…,” Dick (1964, p.113). He also goes onto say that the Nazis even had feelings themselves, “So even this unman, this thing, reified into the top ranks of Nazi officialdom had feelings,” Dick (1964, p.113). Dick pretty much wanted to express his feelings, you could say, of racism and individualism and how stereotypes need to be broken down and stopped as it can damage lives and create war. This motif is tied nicely into High Castle with its references to WWII when these events were taking place showing also how even though we are different, we can still relate as we do, at the end of the day still have feelings etc. And we’re all human.
According to McKnee, what relationship did Dick’s ideas have to (a) Christianity (b) religion and philosophy in general?
According to McKnee, Dick’s relationship with Christianity, in general, has been highlighted throughout his work. “Ubik itself speaks in the terms of Judeo-Christian theology: “I am Ubik. Before the universe was, I am. I made the suns. I made the worlds… I am the word and my name is never spoken, the name which no one knows,” McKnee (2004, p.5). He also goes onto say that “In nearly all of Dick’s own analyses of Ubik, he begins with a religious interpretation, likening his concept to Christian concepts such as logos and the Holy Spirit.”
One thing that I have taken from this is the similarity between Dick’s choice of words “Before the universe was, I am. I made the suns. I made the worlds…I am the word…” to the likeness of the Christian Bible. If we quickly look to the book of John (the forth book of the Bible in the New Testament) it states this, “In the beginning was the Word and the Word was with God. He was in the beginning with God. All things were made through Him, and without Him nothing was made that was made. In him was life…” It’s quite uncanny how similar the two are. There is definitely a reference to the Christian faith no-doubt. However in saying this, this by no means, can qualify to be evidence that Dick himself was a highly religious man. To me, it isn’t really a big deal whether Dick has used religious references; maybe it just makes for good reading. But whatever his reasoning, there is no doubt that there are biblical references.
Another point which McKnee notes is the numerous references to religion. “And it is to Christianity that most of Dick’s qualifications eventually return… After lengthy discussions of the gnostic idea of an evil demiurge as the creator of our universe, Dick here returns to Christian doctrine: Christ as the world’s sole creator, redeemer and judge… (it was Christ, the real presence of the actual Christ, Dick (1981)),” McKnee (2004, p.31). McKnee also goes onto say that “countless similar comments can be found…” showing that weather or not you like it, Dick’s references to religion and the Christian faith are evident throughout his work.
Reference List
Dick, P.K. (1995). Nazism and the High Castle. In Sutin, L. (Ed.), The Shifting Realities of Philip K. Dick (pp.112-117). New York: Vintage.
Linklater, R. (Director). (2006). A Scanner Darkly.
McKee, Gabriel (2004). A Scanner Darkly: Dick as a Christian theologian. In Pink
Beams of Light from the God in the Gutter: the sciencefictional religion of Philip K. Dick. NY: U Press of America.
Dick’s essay was really interesting. His use of Nazism as a motif in High Castle was highlighted throughout. High Castle, as we know, revolved a lot around the I Ching. However Dick points out that there are also other strong references including Nazism. To me personally, like I have stated in my previous blog, “High Castle has a lot of history behind it such as WWII etc.” So this whole idea of Nazism being relevant to High Castle doesn’t really come as a surprise seeing as it does have a lot of WWII history behind it. One example where Dick references Nazism is right at the start of his essay, “Many moon have passed white man review my book Man in the High Castle, and have commented...on Nazism – which is right and proper, because that is the true topic, far more so than any novel…,” Dick (1964, p.112). He cuts straight to the point on this matter.
Also, the main reason that people have associated High Castle with Nazism is summed up by this quote from Dick himself, “we are still very much afraid, still rightly so very much disturbed, and, as Harry Warner so correctly said, we might identify with the war guilt with the Germans because they're so similar to us.” So all in all, we can relate due to this common factor; fear. “The man in the High Castle illuminates Nazism by highlighting how fear is sub rational.” Dick (1999).
There is this feeling of equality expressed throughout this Nazism motif. Dick goes onto express his feelings in regards to this, stating that “I am not a white man. My German friends are not German, nor my Jewish friends Jew’s. I am a nominalist. To me there are only individual entities, not group entities such as race, blood people, etc.,” Dick (1964, p.117). In reference to Nazism, this kind of sums up how Dick believes that the German’s were not a bad race and that we shouldn’t all classify them to be bad people (i.e. the Nazi’s), because as he realised some of the Germans were just as scared as the Jews themselves and at the end of the day they were all just individuals trying to survive just like everyone else going through the Depression. Also he describes how the everyday Germans actually felt sorry for the Jews, “German citizens poked bread into the sealed cattle cars carrying Jews to their death through the Reich…,” Dick (1964, p.113). He also goes onto say that the Nazis even had feelings themselves, “So even this unman, this thing, reified into the top ranks of Nazi officialdom had feelings,” Dick (1964, p.113). Dick pretty much wanted to express his feelings, you could say, of racism and individualism and how stereotypes need to be broken down and stopped as it can damage lives and create war. This motif is tied nicely into High Castle with its references to WWII when these events were taking place showing also how even though we are different, we can still relate as we do, at the end of the day still have feelings etc. And we’re all human.
According to McKnee, what relationship did Dick’s ideas have to (a) Christianity (b) religion and philosophy in general?
According to McKnee, Dick’s relationship with Christianity, in general, has been highlighted throughout his work. “Ubik itself speaks in the terms of Judeo-Christian theology: “I am Ubik. Before the universe was, I am. I made the suns. I made the worlds… I am the word and my name is never spoken, the name which no one knows,” McKnee (2004, p.5). He also goes onto say that “In nearly all of Dick’s own analyses of Ubik, he begins with a religious interpretation, likening his concept to Christian concepts such as logos and the Holy Spirit.”
One thing that I have taken from this is the similarity between Dick’s choice of words “Before the universe was, I am. I made the suns. I made the worlds…I am the word…” to the likeness of the Christian Bible. If we quickly look to the book of John (the forth book of the Bible in the New Testament) it states this, “In the beginning was the Word and the Word was with God. He was in the beginning with God. All things were made through Him, and without Him nothing was made that was made. In him was life…” It’s quite uncanny how similar the two are. There is definitely a reference to the Christian faith no-doubt. However in saying this, this by no means, can qualify to be evidence that Dick himself was a highly religious man. To me, it isn’t really a big deal whether Dick has used religious references; maybe it just makes for good reading. But whatever his reasoning, there is no doubt that there are biblical references.
Another point which McKnee notes is the numerous references to religion. “And it is to Christianity that most of Dick’s qualifications eventually return… After lengthy discussions of the gnostic idea of an evil demiurge as the creator of our universe, Dick here returns to Christian doctrine: Christ as the world’s sole creator, redeemer and judge… (it was Christ, the real presence of the actual Christ, Dick (1981)),” McKnee (2004, p.31). McKnee also goes onto say that “countless similar comments can be found…” showing that weather or not you like it, Dick’s references to religion and the Christian faith are evident throughout his work.
Reference List
Dick, P.K. (1995). Nazism and the High Castle. In Sutin, L. (Ed.), The Shifting Realities of Philip K. Dick (pp.112-117). New York: Vintage.
Linklater, R. (Director). (2006). A Scanner Darkly.
McKee, Gabriel (2004). A Scanner Darkly: Dick as a Christian theologian. In Pink
Beams of Light from the God in the Gutter: the sciencefictional religion of Philip K. Dick. NY: U Press of America.
Subscribe to:
Comments (Atom)