Weeks 10 and 11 – Buffy.
1) Q. Wilcox and Lavery
(2002) identify 9 defining characteristics of 'quality TV' - can you apply any
of these to other television series that you have viewed recently? Are there
any other characteristics that you could add to their list?
2) What role does Hills (2004) suggest the fans
play in the construction of cult TV? How is new media central to this?
3) Hills (2004)
lists a number of defining characteristics of cult TV that contain similarities
to the defining characteristics of pop genres (e.g. fantasy, science fiction)
discussed earlier in the Pop Genres paper. Can you identify these and discuss
why you think that these characteristics are repeatedly viewed as underpinning
popular genres?
Hi all, I've decided to tackle question 3.
ReplyDeleteHills (2004) discusses many characteristics of cult TV that contain similarities to defining characteristics of popular genres.
One of these defining characteristics that is referred to in Defining Cult TV is “The fantastic thus takes on a quality of everydayness by virtue of it’s repetition, familiarity and narrative iteration” (Hills, 2004, p.511). This is parallel to Atteby’s observations in Locating Fantasy (1980). Atteby discusses how Fantasy texts must be self consistent within their own world – to make the peculiar and fantastic seem completely normal and somewhat expected within their setting. Cult TV, fantasy and science fiction take these qualities on – making the exciting, ficticious universe in which each story is set seem very familiar, and relatively normal within their settings. In Buffy the Vampire Slayer, once introduced to the idea plot of Sunnydale Highschool being based over Hellmouth, all involved characters (Giles, Buffy, Willow, Xander… etc) embrace this, and the plot line validated. This becomes relatively normal life for these characters (with it’s exciting twists and turns). The way that this is validated by the characters is similar to the way the world Earthsea (Le Guin, 1968) is developed – where the world described needs no explaination to the reader – for example – we do not need the idea of the Wizard School Roke explained to us, or the differences between each villiage, or why the dragons live where they do. In Earthsea, ideas are just placed infront of the reader to accept, and not question.
Another defining feature of Cult TV similar to other popular genres – in particular science fiction – is the common theme of succeeding after a troubled start (Hills, 2004; Wilcox & Lavery, 2002). For example, reknowned science fiction writer Philip K. Dick began writing ‘pulp’ fiction for science fiction magazines, and once published, struggled to get off the ground particularly in America (Brown, 2001), before gaining a cult-like following. Similarly, Buffy started with a low budget, shown late in the evenings before being labelled as Cult TV and gaining a large, dedicated following.
Hills (2004) also discusses how “Cult TV can be defined through an analysis of fan practices” (p.510), and how fans express their passion. When thinking of fandoms, one thinks of television shows such as Star Trek, Doctor Who, Game of Thrones, True Blood, Buffy the Vampire Slayer – all of which, in my opinion, could fit into the Cult TV genre as well as science fiction or fantasy.
There are many similarities between texts defined as popular genres, and whether they fit under the science fiction, fantasy, Cult TV or any other genre seems only additional to their status. They all have similar characteristics – some of which are the slow start before their fandoms took rise, beginning on low budgets, but, I think most importantly it’s the unapologetic descriptions and scene settings that while are extremely implausible in our every day world, and how they are not explained, and are simply accepted and embraced by their fans.
Attebery, B. (1980). Locating fantasy. In The Fantasy Tradition in American Literature: From Irving to Le Guinn (pp.2-9). Bloomington: Indiana U P, 1980.
Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle (p.v-xiii). London: Penguin.
Hills, M. (2004). Defining Cult TV; Texts, Intertexts and Fan Audiences, The Television Studies Reader in R. C Allen & A. Hill. London and New York: Routledge.
Le Guinn, U. (1993; 1968). The Earthsea Quartet. London: Penguin.
Wilcox, R. & Lavery,D. (2002). Introduction, in R. Wilcoz & D Lavery (eds) Fighting the forces: What’s at stake in Buffy the Vampire Slayer. Lanham: Rowman and Littlefield.
What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
ReplyDeleteIt is argued that Cult TV is self-consciously constructed by the media producers. However, Hills (2004) suggests that the fan practices and activities are significant and relied on by Cult TV. The fans of Cult TV can be defined through the activities and practices to demonstrate their loyalty of the show that they are following. Hills (2004) explains the grassroots phenomenon that assumes that Cult TV is created by the fans rather than self-consciously created by the media. This perception of the relationship between Cult TV and the fans means that there is an emphasis of power and devotion of the audience. This factors in the fan’s activities and how it can make a show have cult status.
Hills (2004) explains that cult status of television shows was achieved by the fans through “intertexual network”. This intertexual network is a series of television programs, books and other forms of mediums that are all connected together as a network through interests of the fans. Fans pinpoint particular texts as a gateway to the wider community (Jenkins, 1992).
The term “cult” was also used by the fans to describe their distinctive type of text (Hills, 2004). These fans have also grouped themselves in “Association Societies”. These societies can also be established well after the first broadcast of a television show. For example, BBC’s Doctor Who was first broadcasted in 1963 and their own association society was established in 1976. These association societies shows the sense of community the fanbase has while they share their interests, do activities and uphold their culture. Association societies and conventions reveal the visible aspect of the culture of Cult TV and allows them to have media coverage and to be stereotyped (Hills, 2004).
Fans of Cult TV engage in other activities such as fan-fiction, episode guides and history. They also help have a market for merchandise and memorabilia for their favorite cult series even if these shows are no longer on air. These societies and activities are able to be performed in real-life and online. (Hills 2004). New media such as the internet has helped moved Cut TV fandom into the mainstream due to the ease of accessibility for users to participate. The Internet is capable of upholding all the elements of the culture and it helps the fandom become more diverse as more users participate (Hills, 2004).
References:
Hills, M. (2004). Defining cult tv; texts, inter- texts and fan audiences. The Television Studies Reader.
I wrote about this question also, and I stated I disagreed with Hill's definitions of what made a television series cult, because I felt that all television series could've fallen into those categories, all all television shows have fans, especially now, in this day and age, when television series seem to be at it's peak point! I didn't mention this is my answer, but for sure, I agree that producers self consciously create cult television. Something like the Netflix show Stranger Things, that I watched last year (due to hype by everyone on social media) has had huge popularity. It was only 8 episodes, and people knew that they had to wait one whole year for the second season. I think producers did this purposely, leaving the last season at a cliff hanger, so that they could have an entire year of fans speculating and discussing the show on the internet, as well as hyping the come back of the second season when it was time. Being an internet blogger myself, I sometimes have products sent to me by PR companies, and I received a gift package from Google in accompaniment of Netflix and Stranger things. The pack included fan merch, and a countdown to the second season of Stranger Things. So I do think that the producers do play a huge role in the cult status of televisions series.
DeleteA good answer. Arguably, both cult and pop genres use common character types, like mentors, who, because of their archetypal nature, have a widespread appeal.
ReplyDelete2) What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
ReplyDeleteIn his 2004 paper, Hills breaks down the definition and construction of cult Tv based on a three part model, in which fans and media construct cult TV. These steps include, text, inter-text and audience.
Text - Hills argues that what gives a television show its cult status is based on the text itself. He argues that shows of cult status are often from the genres of Science fiction, fantasy and horror.
He also suggests that producers of the show “self consciously,” write, create and produce the show in a particular way to make it more appealing for the audience, in order to raise its popularity, bringing it closer towards a cult rating.
Inter-text - Also known as intertextual network, in part two of the model, Hills suggests that secondary texts, such as fan fiction, episode guides, reviews, magazine articles, forums, as well as blogs, amongst many other forms of new media, ensures, and activates the cult status of these TV shows. Through these secondary texts, fans are able to create associations, and network digitally with fans all across the globe, creating their own little community. Hills suggests that fan and fan practices are what gives television shows it’s cult statues, merely based on their dedication and activity. He argues that cult status, cannot be made by producers or promoters, by rather by the activities of the fans, “not made or promoted by the media industry, but rather hinges vitally on audiences to take up devotion, (p.511).
Audiences - In the third part of the model, Hills argues that it is through the response of the audience that a television show is able to achieve cult status. He references the “grassroot phenomenon,” which describes, that dedicated fans are to blame for the rise of cult status in a television. Hills also references, what he calls the “appreciation association,” which refers to annual conventions around the world, which enables fans to get together, dress as characters, discuss their opinions, and produce and sell merchandise. Once again, contributing to the rise of a cult status for a show.
I personally have an issue with Hill’s 2004 model. Using his three definitions as a frame for analysis, I believe that in this day and age, with the era of new media and technology, any TV show, could be considered having a cult status. Thus I believe his model, is a bit dated.
Firstly, it’s important to acknowledge that, yes, new media plays an important role in helping keep the cult status of old TV show. Streaming outlets such as Netflix, Hulu and Lightbox, to name a few, have these TV shows available for streaming, and thus have enabled old shows to remain relevant. Even a show like Buffy, which is 20 years old, and had cult status back then, is still gaining new fans, and is still ever popular due to curiosity from the younger generations. Similarly, fans of the show Buffy, as an example, still are very much active in their community, with creating edits, and fan fiction and reviews as such, on Twitter and Tumblr, and other forums. These all foster curiosity and cultivates new generations of fans.
However, it is due to the ever growing use of new media and technology, that I believe cult status’ are no longer relevant to certain shows only. I believe that even the newest shows, with the fewest amount of episodes could be released on Netflix and overnight gain the same sort of promotion, and ‘status’ as a really popular show. This is because the internet and social media allows us to spread news and updates of the newest show, and promote and attract viewers.
I myself have, in multiple instances, watched a show due to seeing it pop up on multiple occasions, across social media, based purely out of curiosity. Thus, I don’t necessarily agree, that fan engagement creates cult status, as easily as Hills is describing.
References:
Hills, M. (2004). Defining cult tv; texts, inter- texts and fan audiences. The Television Studies Reader