Sunday, October 31, 2010

week10~

First, sorry for the late post.

Then this is my last blog, I post week 1,3,4,5,7,8,9,10,11,12. Please give me some comments

How do you think Buffy has influenced the contemporary vampire drama “True Blood” and the “Twilight” series of novels and films?

Buffy is on show earlier than “True Blood” and “Twilight”. So Buffy is the “ancestor” of the vampire story. With the beginning of Buffy, all the vampire types are have the same plot. I haven’t seen the drama “True Blood”, so here I don't say something about it. But “twilight”, the most famous novel in 21st Century, I can show you some influence from Buffy. First, the vampire theme. In the West Country, vampire is a mysterious thing. So this kind of theme can attract more audiences. Second, Buffy is not just a vampire drama, but a romantic story, in this drama, the heroine’s love is an attractive plot. The audiences want to know the happiness of the heroine. An in twilight, the most attractive plot is the romantic love. The funs of twilight all love the true love between the human and vampire. Third, the war of different race is also the influence from Buffy. In Buffy, the clash happened between human and vampire, and in twilight, it is the vampire and wolves’ clash. But in the end, the rights always beat wrongs, and the story has a happy ending.

In what way is Buffy influenced by the romantic gothic tradition?

“Buffy adopts and adapts many romantic gothic conventions”, In Rose (2002), there is a conclusion of that. So in what way Buffy influenced by the romantic gothic tradition? First,

“Buffy employs romantic ideology in contemporary contexts and terms and suggests alternatives within that framework.” Buffy’s story is happened in our date, so the story’s ideology is closed to our time. With the framework, Buffy’s story become a good story with the sense of time. Second,” the characters, story line, and outcome both acknowledge the issues rise in Shelley’s novel and suggest antipatriarchal and postfeminist solutions to the problems Shelley saw in romantic ideology.” In Shelley’s novel, the antipatriarchal and postfeminist is the main point. And in Buffy, it huge raises the main point of Shelley’s novel. Different with Shelly’s novel, Buffy put all the things more close into life.

Reference

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.

week9~

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?

1. Quality TV usually has a quality pedigree. (Friends)

2. Desirable demographics notwithstanding, quality shows must often undergo a noble struggle against profit-mongering networked and non-appreciative audiences (Gossip girl)

3. Quality TV tends to have a large ensemble cast. (Glee)

4. Quality TV has a memory (lost)

5. Quality TV creates a new genre by mixing old ones (prison break)

6. Quality TV tends to be literary and writer-based. (Glee)

7. Quality TV is self-conscious. (Friends)

8. The subject matter of quality TV tends toward the controversial. (gossip girl)

9. Quality TV aspires toward “realism”. (Lost)

Are there any other characteristics that you could add to their list?

Add:

Quality TV must have the health story and actors. Here I want to introduce Glee to you. This TV play is a good play in this year. There are health story, and actors in this TV play. In America, even Obama also like it. The plot is that: some young people like singing, but they are also the strange people in the school; a teacher wants to organize a team called glee, so they get together to finish their dream. In this TV play, there always some person wants to stop glee, so something happened. In a word, the TV play is a high quality TV, so I think the health story and actor is also important for a quality TV.

Reference

Wilcox, R. & Lavery, D. (2002). Introduction, in R. Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.

week12~

How have game shows influenced reality TV?

Hill (2005) tells us “the reality gameshow has become an international bestseller since its arrival in 2000”. From the first gameshow survivor to now the different kinds of gameshow, it is a long and hard progress for both the programme makers and TV viewers. Now, the gameshow become an important part in TV programme. So how the game shows influenced reality TV? I found some answers in Hill (2005):

Firstly, the gameshow has the format which worked well with converging media, like website and telephones. This bring the television marketplace a strong economic.

Secondly, the famous of the gameshow bring the international trade for the producer of the programme. The country who has bought the format of one gameshow can have the main idea of the gameshow and change it into their country’s style.

Thirdly, the reality gameshow have the schedule in the peak time in weekend. With the fun and the reality, it can attract more viewers to watch. It also can increase the costs in the production of reality shows.

Reference

Hill, A (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15-40). Oxon: Routledge.

Why is reality TV so popular for both programme makers and TV viewers?

In Hill (2005), there is a definition of reality TV: “reality TV is a catch-all category, and popular examples of reality programming, draw on a variety of genres to create ratings winners. And for reality TV, the formats were successful drew on the popular genres to create hybrid programmes. Why is the reality TV so popular for both the programme makers and TV views? I think the most important reason is the “real”.

For the programme makers, making such a programme can bring a big profit for them. Different with making drama, sitcom and comedy, the reality TV is a viable economic potion for them. The reality TV has roots in both tabloid journalism and popular entertainment, but it also has their owe characteristic. So for the programme makers, the area of reality TV is a wide area for everyone who worked in the television area.

For the TV views, watching the programmes of reality TV is a way to relax, or an advantaged way to win some money.

Reference

Hill, A (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15-40). Oxon: Routledge.

week11~

How have they constructed our conceptualisation of reality (or at least what we recognise as being real at the visual level)?

I am sorry; I really can't understand what the meaning of this question is. So I decide to answer it in my first understanding. In Hill (2005), there are three ways to classify reality TV: the television industry, scholars and audience.

The television industry’s real may be the real thing which can make the programme. The television industry is flexible in its categorisation of reality TV. The television scholars can show its “real” in a variety of different ways. This one comes from the real life and real person. At last, the television audience is the real people who appreciate this kind of programme.

How does Hill define reality TV?

There are most definition of reality TV in Hill (2005), I will list it and then summarize one which has the main point of this paper.

1. The category of reality TV is commonly used to describe a range of popular factual programming.

2. In the early stage of the genre, reality TV was associated with on-scene footage of law and order, or emergency services. More recently, reality TV is associated with anything and everything, from people to pets, from birth to death.

3. The reality genre is made of a number of distinctive and historically based television genres, such as lifestyle, or documentary, these television genres have merged with each other to create a number of hybrid genres that we now call reality TV.

So the reality TV is a range of popular factual programme which combine several television genres, which include everything from every area.

week8~

Research thefilms that have been adapted from Philip K. Dick novels or short
stories. Which have generally been acclaimed as the most successful? Why?





Some films from Philip K. Dick’s novels or short stories.






Next




A Scanner Darkly
A Scanner Darkly




Paycheck

I think a Scanner darkly can generally acclaim the main point of Philip. This one is one of the most successful movies from his novels. This movie has the science part, and also has the speculative part. Some of the plot just involved in the polity. So this movie is a good movie.


How does Dick’s essay (1999; 1964) illuminate his use of Nazism as a motif in High Castle?

In Dick’s essay, he said using “Nazism is right and proper, because it is a true topic, far more so than any novel or any review……”


For some countries, Nazism is the bad dream. So in High Castle, using Nazism is not only a memory of history, but also a hope for the future. In this essay, Dick gave us a description of Nazism and Jewish, this is the real goal of the writer of High Castle. In the end, he said:” let’s live in the present and for the future, not dwelling neurotically in the outrages of the past.” That is just the writer’s hope.


Reference

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.

week7~

what is the difference in emphasis between the terms science fiction and speculative fiction? Which is The Man in the High Castle?
The science fiction put the emphasis on the word “science”, and in the fiction, all the thing can be the thing not in the world. Like in twenty kilometres under the sea, all the thing the writer writes are not the thing in that time, some of the new weapon even is made in the 21st century.

The speculative fiction of course put all the points on the word “speculative”. So this kind of fiction can happened in any time and any person. The thing described in the fiction must connect with the polity or social, and change a little thing which is very sensitive in that time.

The most different thing between science fiction and speculative fiction is the thing in the fiction is also in the real life or not. In the science fiction, the thing which is used by people can not find in real life, but in speculative fiction, it can be found.

The Man in the High Castle is just a good speculative fiction. In this fiction, something happened like the history, and something changed the main idea. The thing in this fiction is also the real thing in that time.

week 11

How does Hill define reality TV?

Hill(2005) has defined that “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 the camera.” Reality TV is based on reality and fact in people’s life to film or tell something to the audience. The examples of reality TV in New Zealand could be Big Brother and The Real World (Wikipedia).

How has the documentary genre influenced reality TV and how it presents the “real”?

Grierson has defined documentary as “the creative treatment of actuality”. Documentary is based on the fact, it is real. Directors make documentaries in order to tell audience what happened to one thing. Documentary has a very strong facticity. As a result, people can believe documentary more than TV shows or programs. Reality is also not a very drama genre, so it can follow some ways of documentary. Because of the facticity of documentary, you can say it is mostly real. Directors use real situation, real things and ordinary people not actors and actresses to film, it makes the documentary easier to believe.

Reality Television in Wikipedia, Retrieved 21th, October, 2010, from
http://en.wikipedia.org/wiki/Reality_television


Week 10

How does Buffy deconstruct traditional literary notions of good and evil?
Good and evil are very popular in novels and movies of vampire themes. In the past, people always think that good is good, bad is bad. They do not think there is also good side in the bad people and good people can not do anything terrible. But recently, people are changing their minds. Good and bad people can have both good and bad sides within them, because they are human beings and human beings have every different feeling. In Buffy, Buffy and her friends are the good ones. On the other hand, the Vampires are the bad ones. But the director and the screenwriter have changed the traditional literary notion of good and bad. Although Buffy is a good girl, she also does something not perfect. She has weaknesses, she may make mistakes. On the contrary, even the vampires are evil to be thought of by human, they kill people and drink their blood to feed and fulfill themselves, and they have good vampires and good sides within them. Spike is a good example in Buffy. He is a vampire, he has to drink blood and he can not stay outside in broad day light, though he can not control his own fate, he knows that he should not bite people any more. As a consequence, he is not a total bad person. Buffy and he are good friends.

How do you think Buffy has influenced the contemporary vampire drama “True Blood” and the “Twilight” serious of novels and films?

In these two years, I have given more and more interests to Twilight as it has getting more and more hot and popular. The hot spot that attracts me is how things will go on between Bella and Edward. In addition, ever since Edward had gone for a while and left Bella alone, the relationship between Jacob and Bella has been getting better and better, stronger and stronger, and maybe I should also say more and more mysterious. Everyone has noticed that Jacob likes Bella a lot, and Bella do care about Jacob, but will Bella choose Jacob instead of Edward? This is a conflict in this novel. In the meantime, True Blood is kind of same as Twilight. True Blood is about a girl Sookie who has fallen in love with a vampire guy Bill and all the difficulties they must face in order to be together. In the end of the first season, a new vampire who is called Eric has attended in this story. Bill is a good no doubt vampire because he never killed a human being because of his hunger, he always drinks the true blood (a kind of fake blood that Japanese has created for vampires. In this TV serious, vampires do exist in people’s life has be known by human, so vampires can act freely) instead of drinking actual human blood. On the other hand, Eric drinks human’s blood and kills people. You may say he is evil, but he is still my favorite character. He is definitely loyal to his master and he is willing to die for him. From this aspect, how he treats his master is really moving. As far as I am concerned, the traditional literary good and evil concept has been deconstructed since Buffy, so it has been continued in Twilight and True Blood. Vampires are not all bad, there are good vampires and good sides do exist in other vampires.

Wednesday, October 27, 2010

Week 12

Week 12

Hi Guys. This is my final post.
My blog contributions: week 1,2,3,4,5,6,7,9,10,12 Please comment on. Thank you.
Hope you guys final assignment going well. (*^__^*)

1. How ‘real’ are game shows? / How ‘real’ is reality TV?

Game shows are a category of reality TV. Nowadays, Game shows become a popular. As Hill (2005) identified “the reality gameshow has become an international bestseller since its arrival in 2000” (pp. 31). Watching the game shows is one entertainment of ordinary people. There are many popular gameshows, such as Big Brother, Survivor.
A lots of people like watching game shows because it is ‘real’. This means you can join the show if you want.
For example, Hill (2005) cited Costera Meijier and Reesink (2000) described Big Broth “the voluntary locking up of 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 in can be called a winner” (pp. 31). Therefore, when audience watching the show, they will think it same to real life, no dress rehearsal and no script. Maybe they will want to join the show after watching. It is possible. Therefore, these game shows are ‘real’.

2. 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?

New-media is an important tool of spread reality TV. It play a significant role in the success of reality TV.
For example, game shows, a point of that is most of game shows have prize. The prize not just for winner, sometimes they will set some prize for lucky audience. It is a method of increasing the view market share. Hill (2005) mentioned the format of Big Brother worked with converging media, such as websites and telephones, only added to its strong economic performance in the television marketplace (pp. 31).
With the successful of these game shows, new-media played a great role. The audience use website to communicate with others and put their views online. Hill (2005) states with the popular of Big Brother, for the website, it received 3 million pages impressions each day.

References

Hill, A. (2005) The reality genre. In A. Hill, Reality TV:Audiences and Popular Factual Television. (pp. 14 – 40). Oxon: Routledge.

Tuesday, October 26, 2010

Week 10

Week 10

1. How does Buffy deconstruct traditional literary notions of good and evil?


Good and evil is a permanent topic in TV programs. People pay more attention on this topic; it because of the conflict between good and evil is interesting. Furthermore, the changes from good to evil (or evil to good) are a point that people interested. Recent years, fantasy became a popular genre. People are more and more familiar with inhuman characters, such as witches, vampires. The conflicts between good and evil will show more clearly on these characters.
The main notion of good and evil is moral ambiguity. As Braun (2000) considered “what is interesting about some of these newer representations of supernatural, however, is the moral ambiguity that permeates many of the characters, including both the inhuman beings and ordinary characters” (pp. 67). Furthermore, he thought moral ambiguity often seems to intersect with themes related to gender and sexuality (Braun, 2000).
We can find these all elements in Buffy, use sexual tension between various characters to drive the narrative, play with gender roles, hidden depths and characters with otherworldly powers (Braun, 2000).
As Braun described, “Evil with many characters demonstrating both decent and demonic traits and behavior across episodes or seasons. Good characters may develop in frighteningly sinister ways; villainous ones may surprisingly reveal complex and even selfless motivations” (pp. 67). It proves generally there is not a character is good or evil for ever in these shows. They need to change between good and evil. Because even a bad guy will has some good behavior. A good example is Buffy’s powerful ally in her quest—Angel. He is a moral ambiguous character in this drama.

2. How do you think Buffy has influenced the contemporary vampire drama “True Blood” and the “Twilight” series of novels and films?

Twilight is my favorite vampire film, because its romantic plot between Edward and Bella and tense conflict between vampire and wolf man.
Actually, the main conflict in Buffy is different with Twilight. In Buffy the conflict is between Buffy and vampire, but in Twilight, the conflict is between vampire and wolf man. But the same thing is they all have moral ambiguous character in the story, Angle and Edward. A successful story should be having some character like that to make the story more wonderful. Buffy series are focus on the conflict in young people’s heart and Twilight takes more romantic scene to us. In Twilight, the vampires have two kinds, some evil vampire eat human beings and Edward’s family who don’t eat human being, by contrary protect human (Bella ).
True blood has some same aspects with Twilight, the love between human being and vampire. Buffy series provide basis for the development of later films about vampire.

References

Braun, B. (2000) The X-files and Buffy the Vampire Slayer: The ambiguity of evil in supernatural representations. Retrieved 18 October, 2005 from:
http://www.findarticles.com/p/articles/mi_m0412/is_2_28/ai_64688900

Week 9

Week 9

1. What role does Hills (2004) suggest the fans play in the construction of cult TV?

According hill’s (2004) article, we can considered he discuss three definitions of cult TV. These three parts are model of text, inter-text and audience (Hill, 2004).
Based on this question, we will focus on his third definition of cult TV. In my opinion, every cult TV should be having a lot of loyal and dedicated audiences. Actually, Hill (2004) defined cult TV through an audience’s passion for a TV show. A successful TV show must have lots of fans follow it. Thus, this TV shows has one factor to become a cult TV. Therefore, fans are necessary construction of cult TV.
Hill (2004) identified being a fan of cult TV just has subjective enthusiasm or a ‘special devotion’ is not enough. It has to defend one’s fan passions. As he quoted Jostein Gripsrud’s (2002) words “proper fandom exists when an enthusiasm for some cultural object or other takes on …a totalizing, defining role in people’s lifestyles and identities” (pp. 517).

2. How is new media central to this?

New media has important function of promotion of cult TV. Especially, Internet effect new generation deeply. Hill (2004) state “most of fan activities are carried out both online and in real life” (pp. 519). They can use Internet communicate with other fans. They can check the information of the cult TV online. As hill (2004) mentioned fans produce commentaries, fan fiction, episode guides and production histories. Therefore, Internet offers a platform for them to do these things. They can post interpretations, episode guides and fictions online. They will have their web pages. Hill (2004) identified “Fans of cult TV create a market for memorabilia, merchandise and props that relates to their much-loved TV shows” (pp. 519). Therefore, they can sell the memorabilia online. Hill (2004) quote Kirsten Pullen’s words “the Internet may have begun to mainstream fandom”(pp. 519).

References


Hills, M. (2004). Defining Cult TV; Texts, Inter-texts and Fan Audiences, The Television Studies Reader, R.C. Allen & A. Hill. London and New York: Routledge.

Sunday, October 24, 2010

Final Posting :) I did not complete weeks 3&4


Why is reality TV so popular for both programme makers and TV viewers?
Hill (2005) states, that most Reality shows “Draw on a variety of genres to create ratings winners.” Reality TV has the unique ability to combine a multitude of genres and known popular elements into one program. This is the prime reason for its success; its ability to satisfy the wants of a huge cross section of society. Hill (2005)-“Reality TV is a Catch all category,” Personally, although I used to be disgusted with the concept and entertainment value of Docu-soap American Style Reality TV; in recent years I have found there are many Reality TV shows I do enjoy (such as Hells Kitchen), perhaps for other reasons besides the melodrama that can turn some people off.  This is a great example of the power reality TV holds in winning over a huge amount of viewers. I enjoy Hells Kitchen, mainly because I enjoy cooking and am interested to hear the various techniques, chefs and experts use to create better dishes. Another viewer- of a totally different mindset- may watch because they enjoy the drama and tension of the kitchen, and the constant over the top insults dished out by Gordon Ramsey. People from vastly different backgrounds and value systems, can easily find entertainment value from the same show. “There is something for everyone in the reality genre.”- Hill (2005)


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?
In my opinion, the internet is simply an aider and empowerer of certain forms of Reality and Cult TV. These shows usually owe their success to word of mouth promotion by individuals, the Internet gives individuals the capacity and power to spread word of mouth promotion of a program; far more than any traditional medium could offer. This allows shows like Buffy the Vampire Slayer or Reality TV like Survivor, to quickly be taken up by its audience. Perhaps this is the main way in which New media plays a role in the success of certain TV programs. Although, im sure shows like Buffy would have been successful before the days of the internet; this modern exposure maybe gives the show near instant success, perhaps allowing for series renewal, whereas in the past it may have been eventually cancelled because of poor profits. The other forms of instant communication (such as Cellphones) work in much the same way as the internet; but on a more local level. Friends will often text message eachother, to tell them about their favorite new show etc.

The Internet and Cellphones can also promote TV programs, by creating a new interactive level in which the audience can participate. This gets people more involved and creates passion and a sense of realism surrounding that particular show. Any activity including competitions, forums, extended narrative, games, memorabilia of the show and online viewing of the series, can be used to hook people in; even if when the series is not showing on TV. Online continuation of a series, will also result in increased profit margins through advertising and sales etc

Advertising for Reality TV and Cult shows, is very prominent on the internet; especially utilized on social networking sites such as Facebook. This may be one of the most successful forms of modern advertising; since sometimes social networking sites allow companies to pull peoples private data, and essentially bullseye their advertising at the intended audience



References


Hill, A. (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15 – 40). Oxon: Routledge.

Saturday, October 23, 2010

Week 11

How does Hill define reality TV?
Hill (2005)-“There are a variety of styles and techniques associated with reality TV, such as non-professional actors, unscripted dialogus, surveillence footage, hand-held cameras, seeing events unfold as they are happening in front of the camera.”
From what I could extract from Hill (2005), there doesn’t seem to be a definitive label for the genre of reality TV. Traditional Reality TV covers anything from investigative documentaries, to onsite reporting of the news. Modern notions of reality tv can range from reality game shows (survivor, big brother), to more documentary-like formal programs, sometimes referred to as factual soap operas (Airline, Middlemore). Hill (2005)“The television industry is flexible in its categorisation  of reality TV. Popular factual programming can fit under a range  of traditional categories,”

Although the definition of “reality” can very easily be applied to the more traditional forms of factual entertainment; some of the modern variants have the title applied very dubiously, for in the case of reality game shows, what the audience see as reality can be a highly edited reality; production companies often take liberties in crafting people into characters, no doubt making their shows more dramatic and interesting.


How has the documentary genre influenced reality TV and how it presents the ‘real’?

This is a hard question. In my mind its not necessarily a matter of what parts of the documentary genre, Reality TV is influenced by; for me it seems more a question of what parts of the documentary style, does modern reality TV use to give the portrayal that something being witnessed is indeed real. Modern reality TV uses  imperfect camera movements and other techniques  usually associated with documentaries, to give the actors or events involved a feeling of  being real, even if the scene is totally constructed,; the perception  of reality is crafted. Hill (2005) has a very novel way  of interpreting the difference between documentaries and modern reality TV- “The continuum between fact and fiction is a useful way to think of the relationship between contemporary factual programming and the various types of popular factual television that make up the reality genre.” 



References


Hill, A. (2005) The reality genre. In A. Hill, Reality TV:Audiences and Popular Factual Television.
(pp. 14 – 40). Oxon: Routledge.

Thursday, October 21, 2010

Week 10


How does Buffy deconstruct traditional literary notions of good and evil?

Buffy the Vampire Slayer and other programs like it, offer a unique modern perspective on the classical ideas of good and evil. Braum (2000) states-
“What is interesting about some of these newer representations of the supernatural, however, is the moral ambiguity that permeates many of the characters, including both the inhuman beings and ordinary characters.” In my opinion, this complexity of morality is a more realistic view of the concept of good and evil, the idea of yin and yang; that all evil has some good and vice versa; or that peoples stances or interpretations of morality are fluid and can change. Even a monster (Hitler perhaps) has some trace of good or is indeed capable of a decent act, and the same applies to characters within Buffy. They may change as their circumstance or outlook does. Braum (2000) “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 reveal themselves as something different from what the viewer has been led to believe, and the intentions of an evil character maybe shown to be based on a righteous cause, Braum (2000) “Good characters may develop in frighteningly sinister ways; villainous ones may surprisingly reveal complex and even selfless motivations.”
Buffy the series almost becomes an exaggeration of real life personalities; given a license to do so by the constant adaptability and restlessness of a high fantasy narrative. It also relates to last weeks point about the combination of the Fantastical with the familiar, present in Buffy-like programs. The characters in Buffy almost acting like hyper personalities (changing morality very quickly) compared with the 2D characters present in many TV Dramas. Braum (2000)
“Moral ambiguity can turn into evil at any moment, and the characters are constantly faced with the challenge of navigating the changing boundries of hellmouth and their own motivations and desires.”



How do you think Buffy has influenced the contemporary vampire drama “TrueBlood” and the “Twilight” series of novels and films?

Although I haven’t seen Trueblood, it does seem to share the Gothic Romanticism of Buffy and Twilight, as well as a fantasy narrative and the  muddying of morality. I did however have the unfortunate experience of watching Twilight 1 and 2, forced to watch under duress by a “friend” who practically raved about everything twilight (I think she was in love with that bi curious vampire). I can safely say Twilight has mimicked various aspects of the Buffy formula; vampires, werewolves, the supernatural. Factions within these groups, who adhere to different moral standpoints etc, and characters who straddle the boundary of good and evil. Twilight even has “vegetarian” vampires, who drink only animal blood. So again the fictional world brings to the supernatural, very real representations of human societal interactions. But alas, this is where the positive comparisons with Buffy the Vampire Slayer end. Buffy was an enjoyable show, with a wide target audience, an interesting storyline, decent acting and some great dialogue and plot development; Twilight from start to finish, is a wreck. Horrendous acting, the most clichéd storyline imaginable, weak characters and horribly forced dialogue; Twilight owes its success only to the fact that it was literally designed- from page to page, or reel to reel- to be the ultimate 15-25 y/o female fantasy. Every single plot development and almost every character are built around satisfying the one female main character’s (and ultimately some of the audiences)  deepest desires. Far more than Buffy could ever be accused of. That alone doesn’t necessarily count against it, but combined with the other weak points of Twilight, it qualifies itself as a failure compared to the originality of Buffy, Box office aside.




References

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

Week 12

Hi, everyone, this is my final Post. Good luck for exams… (^-^)…

Why is reality TV so popular for both programme makers and TV viewers?

After I have finish read the material that lecture have provide online, I found there are few attractions for audience when they choose reality TV programme.

First of all, I think reality TV has a broad and profound knowledge which make people learn different knowledge while they are relaxing, even does not need to go worldwide.

According Hill, A (2005) have mentioned in the first paragraph, there are main strands to the development of popular factual television, and these related to these areas of media production: tabloid journalism, documentary television and popular entertainment.(pg 94) as we all know three main media have already covered everything around human` society. According to the same page John Fisk have described ,The tabloid Journalism it's a intersection between public and private life, or relevant stories to human`s life, its sensational to people, which as a mirror reflection to human/audience`s normal life, even more touching while people really into it for some programme. The documentary television its related to tabloid TV as well, however its more high quality and less populist form of programme in reality TV field, compared to the traditional documentary, the new documentary television more focused on public new, current affairs, the documentary television has been called as a real mark of public service commitment. Back to the question, I think audience also can gain lots of benefits and daily news in realism `s aspect from this documentary genre. Last but not least, The popular entertainment it's the development of factual TV, it’s more as a talk shows, game show, sports and leisure programme. Again, as pg98 mentioned, the game show format its attractive viewer because the big reward at the end, the knowledge and skills people have used inside of the game. The extremely survive for both physically and emotionally.

According Hill (2005) `s words in pg 98 he says “in Britain, leisure and instructional programming in the 1970s were about gardening, cooking, dress making and DIY. All associated with ‘skills acquisitions. Finally, he states the soap opera or melodrama it's the genre help people enjoy and relaxing for the day.

Then, there are also some benefits for the Reality TV`S producers. Such as, pg 97 have mentioned the game show its ‘cheap and easy to produce’ and ‘extremely exportable’. I think those two reasons are the main point produces willing to make more Reality TV.



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?

As the Hill (2005) `s materials has point out the new-media (such as, the internet, cell phone technology, etc) as the conveyer between audiences to reality TV producers. These new-media related reality TV more close to viewer and producers. Especially for some game shows, such as: pop stars, American Idols programme. According the resources Hills (2005) have provided to us on page 103. He take UK `s Reality TV as a example, ‘Over 7 million viewers telephoned Channel 4`s hotline to vote for winner, which break the record for UK TV programme. As for the website, it received 3 million page impressions each day, which made it Europe’s top website during the summer of 2000’.

This example has point out people use new-media communicate with Reality TV producers instead of old ways. This is much direct and free, even faster than old ways helped people to expresses their true ideas and acquisitions about the Reality TV. The producers also can get the viewer wants ,desires, therefore to produce more successful Reality TV shows to satisfied viewer’s needs during the day and night, without time limitations as well.

Take cult TV Buffy as an example, the new- media to Buffy studies not only the producers `s field, but also viewers. Try to think about if there is no new-medias involved in our society, would the Reality TV or culture TV developed so fast? I think the answer definitely it’s ‘NO’. Because the ‘True Blood, Twilight, and Vampire Dairy’ such stories it’s very popular in youth viewer’s world. They are willing to use new-medias to discuss with each other, even form up to specific group or community to discuss it more. As new media provide the fast speed to the world and free contribution spaces to human’s society, more and more people felt it holding the important position in our daily lives.

So, Above all, I think the new-media plays a important role in success of reality TV, cult TV as well, which it’s a useful tool use for communicate with viewers world-wisely.

Reference List:

Hill, A (2005) The rise of reality TV. In A. Hill, Reality TV: Audiences and Popular Factual Television. (pp. 15-40). Oxon: Routledge.

Tuesday, October 19, 2010

No screening this 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 11

(Hello, guys, sorry about my late posting, i have not done week 7, 8 and 12 yet, please comments on my week4,5,6,9,10`s posts)
Wk11
How has the documentary genre influenced reality TV and how it presents the ‘real’?

In the Biressi, A. & Nunn (2005) texts (Paragraph One), they points out the documentary genre have influences reality TV from the time since “Direct Cinema, and Free Cinema” occurs. In this paragraph also point out the documentary genre influences the reality TV not only by “the use of new technology” such as, “fly on the wall” , “ by entering the frame the filmmaker avoided the pretence of objectivity, thus creating a more equal or truthful relationship with the subject” noted in PPT slice7, and some voiceover techniques. Those techniques it’s the conveyer of the subject and the camera, which build up a “real” feeling, afterwards, this real reaction will directly go to audiences.

There are many programme in the television recording the competitor`s real, personal lives while they are involve a competition. Such as, the well know programme America Idol, Survivor, the domestic programme, NZ idol. They are using a documentary way to record the real live and showing to audiences. The presenting the realistic its usually contains contestants winning happiness and loss tears, also the environment inside the programme. So, the audiences can easily feel they also involve inside the competition while they following every series or following the contestants they love. I think people`s real emotions never lies while they face on the important minutes.

How does Hill define reality TV?

First of all, Hills have described reality TV a board filed. At the beginning of the article (On pg 41), he says “in early stage of the genre, reality was associated with on-scene footage of law and order, or emergency services. More recently, reality TV is associated with anything and everything, from people to pets, from birth to death”. I think this is because human society`s developing and human needs reality TV as a mirror to reflected the way how we live and live better. This general description for reality TV have showed us the factual programme creators do work hard on the programme to make the TV industry more and more relating to our normal social life.

Then, Hill (2005) on page 42 defines “the most traditional industry term for reality TV is factual entertainment”. After this paragraph, he have categorised the factual entertainment in to 6 different area, “documentaries and contemporary factual; specialist factual; current affairs and investigations; arts and cultural; life skills; and new media. This give us have a fundamental knowledge of new genre structures of reality TV.

Also, Hill (2005) have enumerated a few people from different filed related to Television industry or reality entertainment, they have define reality TV in different ways.
Finally, in the conclusion, he did a sum up for reality TV, even though he says “there is no one definition of reality TV.” Last but not least, he says that s the reason, it is because the reality genera have a wide range merged area of developed genre, also have joined different area of knowledge and form up to their own hybrid genres. So, it’s hard to put it into a specific form to narrow it. I think that is a quite good conclusion within his ideas he may try to explain to the readers.

(Hope more different ideas contribute in the comments,if i have any mistake, please tell me,thank you. )




Reference List:

Biressi, A. and Nunn, N, (2005), Real Lives, documentary approaches. In Reality TV: Realism and Revelation. (pp. 35-38) London: Wallflowers.


Hill, A. (2005) The Reality genre, In A. Hill, Reality TV: Audiences and Popular factual Television. (pp. 14-40)Oxon: Rutledge.

Sunday, October 17, 2010

Week 9

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.


Cult TV and other successful forms of fan empowered media, share several unique characteristics that I would say almost wholly account for their immense popularity and success.
Often cult TV (and some cult movies) contain massive, immersive fantasy worlds; according to Hills(2004) “cult texts can be distinguished by their extended, expansive narrative worlds (Hills 2002:137)”. In these worlds, the strange and alien can become and feel real, helping to craft a vast fantasy and a form of escapism within the viewer, hooking them for future viewing. These strange worlds have circumstance and relations similar to our everyday world; simple human relationships, (Hills 2004) “Cult TV also repeatedly represents particularly close, though usually non-sexualised, character relationships.” When major characters of both sexes  in cult tv, have a romance; it is usually resigned to posturing and courting rather than any rocksolid relationship, they defy something that Hills describes as “surburban domesticity”, the settling down of the characters into more complex and entangled relationships is almost strictly forbidden, for this would easily get in the way of the divergent storylines, or the calls to action that are constantly required of the main characters. Can you imagine if Picard from Star Trek had some rugrats and a wife to worry about? It's safe to say we'd never see him on another away mission again, thats for sure.
Some small forms of surburban domesticity can occur in particular episodes, but it is usually resolved (or dissolved) by a plot element, or otherwise by revealing the particular event or situation to have actually occurred in an alternate reality, parallel to the canon of the main story (very easy to accomplish in fantasy genres).
 Obvious enemies or antagonists also usually crop up, along with the usual forming of social groups associated with ”good” or neutral goals and aims. In this way, cult TV appeals to the base structure of human society, and the inner desire to associate oneself with the side of “good”, or the dominant (usually good) faction that are the main characters of cult TV. Hills (2004) “Cult TV also characteristically depicts trusting relationships within a close-knit community,”
Its a fantasy that mixes the bizarre and mysterious with elements from the viewers everyday life, as well as making the characters who carry the fantasy, superior and justified in their actions and moral platform. Hills (2004)  states “...transformation from exotic or extraordinary into homely/ordinary is, I would argue, one of the key ways that cult TV appeals to its audience over time.”
Because of the similarity between elements of everyday life and elements within the cult fiction, fans find themselves accepting the bizarre as part of normality. As the world is expanded and reinforced, the dominant character group is the rock that we anchor our imaginations to; the only constant that allows to accept this consistently bizarre world. Hills (2004)  reinforces this notion “by reiteration and by accumulation of detail, to make fantastic worlds appear normal within a format and narrative structure.” I would also argue that the accumulation of knowledge and our curious nature has always been one of our biggest drivers in real life; so this easily translates to the fantasy world. Because it is fiction and expansive, there can be no end to the discovery and knowledge within the universe, any conclusion or fact drawn could be upturned at any  moment, crafting infinite possibilities, and denying the rationale that we accept in our real world life. A point I find ironic, since many cult tv programs use some form of scientific basis (Star trek, Lost) in their storylines.

Finally, Hills (2004) posits “Cult TV programmes often fail to resolve their major, driving narrative questions, these questions thus remaining open, and narrative closure being indefinitely deferred.”
This is perhaps the most classic of TV show techniques that cult programs employ and in line with other fan driven media such as soaps; the never ending storyline, hooking the viewer in to a group of main characters with an unspecified or perpetual goal; or a goal that is constantly out of grasp; unattainable. If the goal seems attainable, but is allusive, the creators will usually use alternate reality scenarios to satisfy the viewer need for closure, but thus return to normality upon the episodes completion. On some occasions, when the show has had its run, the series reaches its final episodes, the resolutions maybe sloppy and unsatisfying (LOST), since the creators never intended or planned for an ending; or in cases of the shows sudden cancellation, the creators may use a mechanism within the narrative (similar to alternate reality) where the show suddenly flashes forward to its conclusion and/or the conclusion of the characters original goals.

What role does Hills (2004) suggest the fans play in the construction of cult TV? How
is new media central to this?


What is, or is not cult TV, is literally decided solely by the passion of  its viewership. “Cult TV can be neither made nor promoted as such by the media industry, but instead hinges vitally on audience take-up and devotion.” Hills (2004)
It is the secondary texts that defines cult TV. The articles, the analyses the contemplation of the issues and storyline involved, fanfiction, conventions; all of these things constitute what drives the idea of cult tv. "Cult TV is not predominantly a matter of programmes themselves or audiences; rather, it is constructed through intertextuality that is through secondary texts that activate the meanings and associations of “cult” for audiences by attaching this label to certain programmes.” (Hills 2004)

Other factors sometimes help decide or guide what becomes cult tv. One thing ive noticed (especially in the movie world) is that ”cult” is almost never associated with anything that is highly commercialized or mainstream. Transformers Ive pondered, occupies a unique place within this idea. The original cartoon could definitely be defined as a cult product, yet it was the product of a highly commercialized Japanese marketing company. The shear fact that it was Japanese may have been enough for the international audience to ignore its marketing background and latch on to it, BUT, more recently with the highly commercial and extremely popular Transformers movies; noone could dare call these films “cult”, or perhaps call anything to do with transformers "cult" ever again, all due to that tiny shift from the cult and fringe, to ultra mainstream.  Hills (2004) on cult TV suggests that sometimes “They are set apart from the mainstream by virtue of initial commercial failure, and are adopted by audiences who perceive otherwise unseen value in them.”
I do not entirely agree. Hill seems to be insinuating that some cult media is taken up merely because it is not taken up by the mainstream, or successful. I have a slightly different view, for there have been some recently critically acclaimed movies, that in their day were  commercial failures. I believe these types of movies perhaps had themes or storylines that most movie viewers find unsatisfying, or strange; but which niche audiences would perhaps have appreciated from the onset, had they had exposure to it. This accounts for the slow increase in viewership that cult media enjoys, as the intended fans slowly find their way to these narratives that more identify with their own fantasies. And of course, some movies and series simply fail at the time because of very poor marketing. Its extremely hard to make a movie or series financially successful, if the intended audience never knew of its existence.

As for the question of new media, I do not believe it is fundamental to the idea of Cult television, it is more a facilitator for the passionate fans to form in groups and discuss their passion more effectively. Before the internet, classic mediums such as cult magazines and fanclubs would have assumed the operations that new media has now almost taken over. So, the internet has merely changed the way in which Television and movies assume cult status (much like the internet has changed every other facet of our lives); it is still the fans and the secondary texts associated with the fanbase, that decide and guide the inner workings of cult TV. Whether that advancement occurs on or offline is irrelevant in some ways,  the speed with which internet has sped up all communication, may have consequently affected the rate at which what is "cult", is decided.

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.

Saturday, October 16, 2010

Week 11

How does Hill define reality TV?

Hill (2005, p. 55, line, 37-39) states " If there is one defining characteristic that unites the disparate group of programs that make up the reality genre it is the capacity to let viewers see for themselves".
Secondly Hill (2005) mentions how John Corner approached one of the central concerns surrounding the description of the definition reality T V with his own description of it as being " by its very nature popular factual entertainment sits in the spaces between fact and fiction"

Finally in the conclusion section of The reality genre (2005), Hill states "There is no one definition of reality programming but many, competing definitions of what has become the reality genre"

How has the documentary genre influenced reality TV and how it presents the 'real'?

Biressi and Nunn (2005) mention 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. Also discussed by Biressi and Nunn (2005) is the influence of earlier programs such as the BBC series The Trial (1994) which allowed the viewer to gain an insight into the workings of British courts of justice. Biressi & Nunn (2005) mention how the programs producers avoided accusations of voyeurism by keeping within the established documentary modes of exposition and example.I can certainly recall some of the programs of the past decades (Judge Judy a reality TV series in which the judge often expressed her own personal views towards the defendants and plaintiffs and then delivered on their sentence. This was a court TV series where the participants aired out their personal grievances and then judge Judy had the final say on the outcome).however these days with some reality TV it is a little difficult to believe it isn’t totally staged. For example the series in which the boss of a company goes undercover to see how his employees feel about their job and working conditions. It seems that there is always someone who has a tear jerking personal story to tell in this program each week. I have to admit I enjoy the series Airport, Border Patrol, Cops, and the latest series about volunteer British cops who assist the Thai police in the red light district of Pataya. I found the data provided by Hills (2005, p. 51) which concerns itself with the timeframe in which audiences view reality TV very interesting and certainly applicable to my own viewing habits.
(This is my 10th week of blogging so I will now focus my energies on my fan fiction for the next two weeks. It's been an interesting and enlightening experience)

Friday, October 15, 2010

Fanfiction: Yarrow's Adventure

Crossover Fanfiction

Canons: A Wizard of Earthsea (Le Guin, 1993; 1968) and The Man in The High Castle (Dick, 1982: 1962)

Rating: K

New Character: Barfinda, a wizard who, through indulging in the darker side of magic, conjured an entity that took possession of him and transformed him into a wizard-eating bad guy.

Total number of words of Fanfic below: 1040

________________________________________________________________

Yarrow looked round the tidy kitchen. A smile touched her lips. Everything was in its place, just as she liked it. She walked to the window where the harrekki was lying on its back in the sun.

“Vetch should have been home a week ago,” she said, tickling the little dragon on the stomach. “If Sparrowhawk was with him, I wouldn’t worry so much. But Sparrowhawk had another dragon to subdue, one much larger than you, my little friend.”

“Vetch should not have gone to Zeltmathu alone!” a voice bellowed.

Yarrow spun round to see a man standing in the open doorway. “Who are you?” she asked, alarmed.

“Name’s Frank,” he said, stepping into the house. “The I Ching told me to come. The oracle says you must save your brother otherwise a catastrophe will happen in my world.”

What’s happened to Vetch?” Yarrow asked.

“Barfinda of Zeltmathu has him captive and will devour him –”

“Eat Vetch?” Yarrow said, horrified.

“That’s how Barfinda sustains his power over wizards. You must go at once. You’re the only one who can save him.”

“But I’m too stupid! I wouldn’t know what to do,” Yarrow wailed.

“Only a female relative can save Vetch,” Frank insisted. “The oracle said so.”

“Aunty will know what to do. She lives in the next village,” Yarrow said hopefully.

“No, I’m sorry, not anymore. Barfinda told Mairers to kill your aunty,” Frank explained. “They’ll come here next,” he warned. “If you die, Vetch dies and thousands die in my world. Nazis have killed millions already . . .”

Yarrow gulped. Nazis sounded far worse than Mairers. “What must I do?”

“Enter Barfinda’s lair. Shout ‘Vetch is free, Brooo, Braae, Breee!’ It’s not potent wizard magic, or inferior witch magic, but magic I read in the appendix of Other Magic.

Three hours later, Yarrow was well on her journey to Zeltmathu. She felt scared and was alone, the I Ching having sent Frank on other business. She’d never set foot beyond the town boundary before. She’d heard stories of the shaggy Barfinda whose lair was lined with the bones of wizards. Wizards who had gone there to test their magic against Barfinda or to set Barfinda's captives free. She hadn’t heard of any returning alive. Yarrow repeatedly said the ‘other magic’ Frank had told her, sure she would forget what to say.

Suddenly, she heard terrible screeches and saw Mairers, fern-like beings, chasing her down. Yarrow ran as fast as she could along the dusty road. She came to an intersection and saw a woman, a knife in one hand.

“I’m Juliana. You’ve met hubby already,” she said, and with flashing, slashing strokes, slaughtered the Mairers. “Frank didn’t think you’d get this far. That’s a test of courage passed. I’m to see you to Barfinda’s lair. You must save your brother for all our sakes.”

And so it was, come mid-morning the following day, they were standing outside Barfinda’s lair.

“Go save Vetch,” Juliana instructed. “I cannot enter, I’m not a relative.”

“I’m scared of the dark, caves, bats, enclosed spaces, adventures and Barfindas,” Yarrow wailed.

Juliana lit the torch they had brought with them and passed it to Yarrow. “There comes a time when every girl must develop a backbone. In you go!”

“Yes,” Yarrow agreed, and went into the foul-smelling cave. Fear must be overcome. Vetch was depending on her.

Soon, Yarrow entered a chamber where sunlight filtered down from a hole overhead. And there waiting for her was her biggest fear. Barfinda.

“I’ll eat you, little girl.”

Yarrow trembled, she was so scared. “Where’s my brother?”

“Yarrow? Is that you? You’re stupid to have come!”

“Oh, yes, I know! Vetch?” Yarrow called, peering into the shadows.

“I can’t release the puzzle lock, Yarrow.”

Barfinda laughed. “No wizard-mind can!”

Yarrow tried to pass Barfinda, but he was quick on his hairy feet. Then Barfinda’s large hands encircled Yarrow’s throat. She could not remember the ‘other magic’ and was slowly falling into a faint.

“Yarrow!” Vetch yelled.

“Vetch is free, Brooo, Braae, Breee!” she croaked, his voice having awakened her.

Barfinda suddenly stood as still as a statue, allowing Yarrow to ease the hairy fingers from her throat. Wasting no time, she found Vetch in a metal cage.

“I can’t escape. Wizardry doesn’t work in Barfinda’s lair.”

“You mean this little lock?” Yarrow asked, working at the puzzle lock. Soon the cage door stood open.

“My stupid sister outthinks a wizard?”

Yarrow smiled coyly. “It was too simple for you, that’s all.”

Barfinda groaned.

“The ‘other magic’ is wearing off,” Yarrow wailed.

Barfinda moved a hand and then a foot.

Vetch picked up the torch and grabbed Yarrow by the hand. Together they fled the cave. Outside they found Juliana standing guard, three dead Mairers nearby.

“It’s on days like these I wish I had my I Ching,” Juliana said. “I’ve grown too far from the Tao.”

“Let’s get out of here,” Vetch said, hearing Barfinda coming after them.

But soon Barfinda caught up with them.

“Vetch, do something,” Yarrow screamed, hiding behind him.

Barfinda laughed. “He’s been inside the cage. His wizardry’s gone until I’m dead.”

“Then have my knife!” Juliana said, stepping forward to slit Barfinda’s throat. But Barfinda easily flung her into a bush.

“Vetch, do something!”

“Fight Barfinda without wizardry? Only a stupid person would do that! Run!”

Too tired to run, Yarrow, lighting the torch, backed away from the predatory Barfinda. Then he lunged at her, his great mouth open, ready to devour her. She jumped aside and shoved the flames into Barfinda’s shaggy, rubbish-laden coat. Flames leaped and so did the screaming Barfinda.

Then she helped Juliana out of the bush and the three hurried on their way, leaving the dying Barfinda behind them. Back at the same crossroads where they had met, Yarrow said her farewells to Juliana.

Finally, Yarrow and Vetch reach their hometown. It seems word of their courageous adventure had gone ahead of them. Everyone was waiting for them, to congratulate them for killing Barfinda.

“Wizards are safe now because of Yarrow,” a woman said.

“Oh, no, it wasn’t just me,” Yarrow replied. “It was also ‘other magic’ brought here by a man and his I Ching.”