What does Brown (2001) identify as the central themes and concerns of the novel? What elements conform to the wider generic features of SF?
The Man in the High Castle is a twisting schizophrenic tale of an alternate universe, filled with characters and plot scenarios, that although mostly separate; seem to be intimately linked by fate and the characters drive to have control over something that may be uncontrollable. The central themes of High Castle remain debateable in my eyes, the notion of fate; that you can control ones own, or fail to; or even come to the realisation that you never can; all seem to be prelavent themes and plot devices throughout the pages of High Castle. This twisting and unreal sense of reality seems to be a theme enforced upon characters within Dick's stories. As Brown(2001) states, a character in High Castle "...makes a discovery that changes her perception of reality- always a dominant theme in Dicks work.."
High Castle delves into a complex and elussive alternate reality, in which the Axis prevailed over the Allies and the world exists on a knifes edge; caught between the psychotic fantacism of the current Reich, and their rivals; the calculating, elitist, but spiritually enlightened Japanese empire; who stand in stark opposition to the trigger happy and frantic powers of the Reich. This is part of a grand theme in the book, a clash of Idealogies of the supposedly superior. Brown (2001) proposes that High Castle is "...an examination of the conflicting ideas of totalitarianism and eastern philosophy..." as well as "In opposition to Nazi ideology, Dick posits the philosophy of Tao which offers a means of examining the universe through the principles of interconnectedness." I interpreted the philosophy of Tao as still being almost a neutral force within the book; althougth the Japanese appear to be a more responsible than the viscious Reich; I believe the Japanese empire almost use the Tao and idea of eastern philosophy and prophecy as a form of control and means by which to prove their superiority and rightful place as rulers; guiding events with their superior knowledge and interpretation of the present and future. This may not have been intentional by Dick, more a natural evolution of the narrative and another subtle layer of the grandoise plot.
The use of Tao and the I Ching in High castle almost destroys the will of the characters to seek their own fate, instead allowing them to devolve into paranoia over whether their choices or interpretation of prophecy are correct, this point contributes to another in Brown (2001) "The terror of implicit evil, the claustrophobic sense of being imprisoned in a world seemingly without hope." the characters "find themselves trapped in circumstances they cannot control."
I believe the only element that conforms to the wider scifi genre is the idea of an alternate reality, where events transpire far differently from those seen in the real world. The rest to me seemed very different and refreshing from mainstream science fiction.
According to Mountfort (2006), what role does the I Ching have as an organisational device in the structure of High Castle? How does the use of this device illuminate the character of the novel’s protagonists?
The I Ching is an extremely integral feature of High Castle. It seems to guide the characters at every junction, the prime catalyst for all interactions and scenarios. Dick himself claims that "the I Ching itself [sic] has in a sense written High Castle." Mountfort (2006).
Dick literally used the I Ching to guide the entire storyline of High Castle. Mountfort (2006) states that Dick consulted the I Ching prophecy text, "he posed it questions at various critical junctures, regarding the situations his characters face...." and "how he should proceed in the writing of the novel and its plot development".
Whilst reading the novel we assume the I Ching is simply a means of creating a surreal spiritual realm within the universe, where the characters isolation and ignorance of eachother, gives way to the characters individual interpretations of the I Ching. Guiding them to create events that they are affected by, or end up affecting themselves. Mountfort (2006) claims that the character's "..consultations also illuminate the subtarranean fate lines that connect characters who never meet but whose decisons and actions affect eachother in concrete ways."
With these revelations we can easly come to the conclusion that the I Ching is the one most important aspect in The Man in the High Castle. Having directly guided the plot and storyline through Dick and his characters interpretations. At the end of the novel we discover the I Ching proposes the characters entire universe may be fake, or unreal. Upon discovering the authors use of I Ching, this final insight took on a whole new meaning. Did Dick plan from the beggining to reveal the experience as fake? Did he simply interpret the final I Ching Prophecy in a way as to add the new revelation? Or was it simply an idea that the I Ching revealed to him spur of the moment? Interesting to say the least.
References
Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle (p.v-xii). London: Penguin.
Mountfort, P. (2006). Oracle-Text/Cybertext in Philip K. Dick's The Man in High Castle. Conference Paper, Popular culture association/ American culture Association annual joint conference, Atlanta, (2006)
Tuesday, October 12, 2010
Week Five
WK5
Discussion threads:
According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia (i.e. comparing China and Japan)?
Before I read Lent `s essay, I thought Japan is the first ancestor of anime, and I thought china was have a huge impact from Japanese animators in early days. However, I felt I was so wrong and shallow in animation field.
After I read the essay, I know western Animations have the domain influences to Asia, As Lend (2000) demonstrate that in early times, American and Europe style influences Japan, china, India, Taiwan and Thailand, all round Asia as well.
Western Animation influences Japan`s premier animator Tezuka while in his early childhood. From this content we can see the western Anime have longer history progress than Asia in early stages also affected a wise region, such as, the Western animation from America try to training the first generation of animators for China, which help Chinese animation industry express their own thoughts, culture, and historical content. This also can improve Chinese animator get way imitate hobbits. Therefore, enhanced Chinese animation, being more educational, which full of human traits and expressing the national character and nature of Chinese culture. I think this is a huge improvement for Chinese Animators.
Indian`s Animation also incorporate many aspects of western animation professionals. Such as, he point put, U.S and British academic trainers. In 1956-1957, Indian government get support from American former Disney animator Clair to training younger animators. In 1970, the British academic Roger Noake was responded for training India’s next generation of animators. Also the India (ZICA) USING Russian animators as teaching for students. We can see India also affected by America and Europe.
Taiwan animators have many connections with U.S. industry, even the first animation director have the experience educated from Japan and mostly influenced from U.S. in Indiana University.
Last, but not least. The Thailand `s first animators have the chance attracted U.S. embassy in Bangkok. Because they looking for cartoonist to draw anti-communism theme. Then, the Thailand animator started nearly 34 years of work with U.S. I.S. he got most influences by Fleischers and local shadow theatre.
Above all, I think western animations enhanced Asia`s animation while they influenced Asia and holding the leadership of animation field until now.
Later on, Lend (2000) point out the western animation its still stakeholder of Asia.
What is the ‘shojo’ and how does it often function in anime?
After I have read this After I did research online from Wikipedia, I know Shojo in Japanese means teenager/young girls `s respectively. The Shojo manga it’s the manga marketed to female from ages of 10 to 18.the shojo manga covered many different areas which include varieties of narratives and graphic styles, the subjects in this manga its quite wise as well. Such as, they provide historical drama to science fiction. However, the theme of shojo anime more focuses on human and romantic relationships and emotions.
Reference List:
Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or
adaptation. Retrieved 21 June, 2006, from AnimeResearch.com
Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13). London:
McFarland & Company.
Discussion threads:
According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia (i.e. comparing China and Japan)?
Before I read Lent `s essay, I thought Japan is the first ancestor of anime, and I thought china was have a huge impact from Japanese animators in early days. However, I felt I was so wrong and shallow in animation field.
After I read the essay, I know western Animations have the domain influences to Asia, As Lend (2000) demonstrate that in early times, American and Europe style influences Japan, china, India, Taiwan and Thailand, all round Asia as well.
Western Animation influences Japan`s premier animator Tezuka while in his early childhood. From this content we can see the western Anime have longer history progress than Asia in early stages also affected a wise region, such as, the Western animation from America try to training the first generation of animators for China, which help Chinese animation industry express their own thoughts, culture, and historical content. This also can improve Chinese animator get way imitate hobbits. Therefore, enhanced Chinese animation, being more educational, which full of human traits and expressing the national character and nature of Chinese culture. I think this is a huge improvement for Chinese Animators.
Indian`s Animation also incorporate many aspects of western animation professionals. Such as, he point put, U.S and British academic trainers. In 1956-1957, Indian government get support from American former Disney animator Clair to training younger animators. In 1970, the British academic Roger Noake was responded for training India’s next generation of animators. Also the India (ZICA) USING Russian animators as teaching for students. We can see India also affected by America and Europe.
Taiwan animators have many connections with U.S. industry, even the first animation director have the experience educated from Japan and mostly influenced from U.S. in Indiana University.
Last, but not least. The Thailand `s first animators have the chance attracted U.S. embassy in Bangkok. Because they looking for cartoonist to draw anti-communism theme. Then, the Thailand animator started nearly 34 years of work with U.S. I.S. he got most influences by Fleischers and local shadow theatre.
Above all, I think western animations enhanced Asia`s animation while they influenced Asia and holding the leadership of animation field until now.
Later on, Lend (2000) point out the western animation its still stakeholder of Asia.
What is the ‘shojo’ and how does it often function in anime?
After I have read this After I did research online from Wikipedia, I know Shojo in Japanese means teenager/young girls `s respectively. The Shojo manga it’s the manga marketed to female from ages of 10 to 18.the shojo manga covered many different areas which include varieties of narratives and graphic styles, the subjects in this manga its quite wise as well. Such as, they provide historical drama to science fiction. However, the theme of shojo anime more focuses on human and romantic relationships and emotions.
Reference List:
Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or
adaptation. Retrieved 21 June, 2006, from AnimeResearch.com
Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13). London:
McFarland & Company.
Week Four
Wk4
Discussion threads:
How does Tolkien (1964) define fantasy? Compare and contrast this to the other definitions from last week’s reader?
After I read the Tolkien `s paragraphs, I think he have given quite high level appraise on Fantasy. He says Fantasy it is the power of giving to ideal creation of inner consistency for reality, and successful expression. (On pg 44).
The whole essay Tolkien wrote it’s trying to Identify that fantasy it’s not only suitable for juvenilia group, but also a mature genre it`s worth read for different age groups, because different age group people have their own understanding of fantasy. Or, even same age of group who have different thinking could understand the same fantasy. As he states Andrew Lang`s point of view, he says people who have children`s heart as ‘are innocent and love justice; while most of us are wicked and naturally prefer mercy.’(On page 44) more or less,
As Tolkien says Fantasy have a start advantage it’s arrested in our primary world, but some of people don’t prefer the way people meddling the time with primary world.
As Tolkien (1964) defines fantasy is a higher form of art with images of things. Fantasy is not simple happy ending stories, there are more about that, such as ‘poetic justice’ and ‘moral redemption’. For example: In the tales, there always set up a character ‘evil’ failed because of their greed, fatal character weakness.
Also he says imagination it’s higher than image-making. (On page 44). Also he have listed few fantasy stories that wise, therefore worth people to see, also Tolkien in the essay have analyses point of views to prove ‘ fantasy stories have influences people have an innocent heart or being not too wrecked. Such as Tolkien’s Lord of the Ring, this famous fantasy not simple, they all illustrate incredible images from people` nature believes.
Comparing last week`s reading about fantasy, I think Tolkien`s Fantasy definition and exploration more Comprehensive and eloquent, also quite relevant in the modern world.
How the fantasy genre does relate to modern media such as video games?
In my point of view, Fantasy it’s a popular and never out of fashion genre, because it is attracting most of people in universe at anytime’s. According the reading from last and this week, I understand the fantasy it’s a genre contains lots of imaginations and full of sources that suitable for cross culture involve to modern media types, especially form up to varieties of games. Because usually fantasy full of imagination themes, when young people really into them, they feel ruling and controlling the unrealistic world all by themselves. Youth people enjoy the joy and satisfaction of role-playing, myth feelings in their mind while watching fantasy.
The game developers smartly take the popular fantasy stories and formed up to games. Unusually, people who loves fantasy stories willing and enjoyed to play roles in the imagination stories, because while people playing games, they enjoy the way producer developed the roles, created theme, illustrated beautiful unrealistic world, and experienced the ideology of the fantasy stories. also, producer make the game become extremely attractive by beautiful pictures on their imaginative aspect by telling audience`s magic and gorges stories.
I think fantasy in modern media it’s a quite attractive genre for audience from different age groups.
Reference List:
Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or
adaptation. Retrieved 21 June, 2006, from AnimeResearch.com
Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13). London:
McFarland & Company.
Reference list:
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.
Tolkien, J.R.R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.
Burn, A. (2005). Potter-Literacy –from book to game and back again; literature, film, game and cross-media literacy. Papers: Explorations into Children’s Literature Vol 14, No 3.
Discussion threads:
How does Tolkien (1964) define fantasy? Compare and contrast this to the other definitions from last week’s reader?
After I read the Tolkien `s paragraphs, I think he have given quite high level appraise on Fantasy. He says Fantasy it is the power of giving to ideal creation of inner consistency for reality, and successful expression. (On pg 44).
The whole essay Tolkien wrote it’s trying to Identify that fantasy it’s not only suitable for juvenilia group, but also a mature genre it`s worth read for different age groups, because different age group people have their own understanding of fantasy. Or, even same age of group who have different thinking could understand the same fantasy. As he states Andrew Lang`s point of view, he says people who have children`s heart as ‘are innocent and love justice; while most of us are wicked and naturally prefer mercy.’(On page 44) more or less,
As Tolkien says Fantasy have a start advantage it’s arrested in our primary world, but some of people don’t prefer the way people meddling the time with primary world.
As Tolkien (1964) defines fantasy is a higher form of art with images of things. Fantasy is not simple happy ending stories, there are more about that, such as ‘poetic justice’ and ‘moral redemption’. For example: In the tales, there always set up a character ‘evil’ failed because of their greed, fatal character weakness.
Also he says imagination it’s higher than image-making. (On page 44). Also he have listed few fantasy stories that wise, therefore worth people to see, also Tolkien in the essay have analyses point of views to prove ‘ fantasy stories have influences people have an innocent heart or being not too wrecked. Such as Tolkien’s Lord of the Ring, this famous fantasy not simple, they all illustrate incredible images from people` nature believes.
Comparing last week`s reading about fantasy, I think Tolkien`s Fantasy definition and exploration more Comprehensive and eloquent, also quite relevant in the modern world.
How the fantasy genre does relate to modern media such as video games?
In my point of view, Fantasy it’s a popular and never out of fashion genre, because it is attracting most of people in universe at anytime’s. According the reading from last and this week, I understand the fantasy it’s a genre contains lots of imaginations and full of sources that suitable for cross culture involve to modern media types, especially form up to varieties of games. Because usually fantasy full of imagination themes, when young people really into them, they feel ruling and controlling the unrealistic world all by themselves. Youth people enjoy the joy and satisfaction of role-playing, myth feelings in their mind while watching fantasy.
The game developers smartly take the popular fantasy stories and formed up to games. Unusually, people who loves fantasy stories willing and enjoyed to play roles in the imagination stories, because while people playing games, they enjoy the way producer developed the roles, created theme, illustrated beautiful unrealistic world, and experienced the ideology of the fantasy stories. also, producer make the game become extremely attractive by beautiful pictures on their imaginative aspect by telling audience`s magic and gorges stories.
I think fantasy in modern media it’s a quite attractive genre for audience from different age groups.
Reference List:
Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or
adaptation. Retrieved 21 June, 2006, from AnimeResearch.com
Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13). London:
McFarland & Company.
Reference list:
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.
Tolkien, J.R.R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.
Burn, A. (2005). Potter-Literacy –from book to game and back again; literature, film, game and cross-media literacy. Papers: Explorations into Children’s Literature Vol 14, No 3.
Monday, October 11, 2010
NO SCREENING
There won't be a screening this week (11) or next week (12) - this will give you all more time to focus on the blogs and the assignment.
Sunday, October 10, 2010
Week 10
How does Buffy deconstruct traditional literary notions of good and evil?
Braum (2005) best sums up the deconstruction of traditional literary notions of good and evil with her comments that within these shows the human and un human characters both display decent and demonic traits and the qualities of good and evil are continually moving. I think that as the narrative moves along and the characters take on good and evil traits it allows the viewer to connect with the characters on a deeper and more personal level.
In what way is Buffy influenced by the romantic gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?
Buffy is raises the issue of science and morality in the continually developing technological world just as did Mary Shelley with Frankenstein. Rose (2002, p.133) mentions how Mary Shelley would quite probably have appreciated the narrative arc surrounding The initiative and the creature Adam, Buffy and the Scooby Gang as this was a modern take on Mary Shelley's Romantic ideology.
Buffy provides a contemporary critique by telling the story in a female narrative with the hero having considerable powers while still holding onto the theme of humanity delving into and playing around with areas of science of which we know very little about or what consequences such actions may bring upon us. Buffy also highlights many of the issues surrounding relationships, love and the personal trials and tribulations of today's youth
How do you think Buffy has influenced the contemporary vampire drama "True Blood and the "Twilight" series novels and films?
While I have not seen True Blood I feel that Buffy paved the way for Twilights characters to develop and grow while going through and exploring such things as morality, good and evil, sexuality, jealousy among other feelings. In one of the twilight movies Edward Cullen is a vampire who refrains from drinking human blood, I see this as following along the same as the vampire character Angel in Buffy who has a human soul and feels like humans do.
Braum (2005) best sums up the deconstruction of traditional literary notions of good and evil with her comments that within these shows the human and un human characters both display decent and demonic traits and the qualities of good and evil are continually moving. I think that as the narrative moves along and the characters take on good and evil traits it allows the viewer to connect with the characters on a deeper and more personal level.
In what way is Buffy influenced by the romantic gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?
Buffy is raises the issue of science and morality in the continually developing technological world just as did Mary Shelley with Frankenstein. Rose (2002, p.133) mentions how Mary Shelley would quite probably have appreciated the narrative arc surrounding The initiative and the creature Adam, Buffy and the Scooby Gang as this was a modern take on Mary Shelley's Romantic ideology.
Buffy provides a contemporary critique by telling the story in a female narrative with the hero having considerable powers while still holding onto the theme of humanity delving into and playing around with areas of science of which we know very little about or what consequences such actions may bring upon us. Buffy also highlights many of the issues surrounding relationships, love and the personal trials and tribulations of today's youth
How do you think Buffy has influenced the contemporary vampire drama "True Blood and the "Twilight" series novels and films?
While I have not seen True Blood I feel that Buffy paved the way for Twilights characters to develop and grow while going through and exploring such things as morality, good and evil, sexuality, jealousy among other feelings. In one of the twilight movies Edward Cullen is a vampire who refrains from drinking human blood, I see this as following along the same as the vampire character Angel in Buffy who has a human soul and feels like humans do.
Sunday, October 3, 2010
Week 9
What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
Hills (2004) discusses how fans are involved in the shift of particular TV programs to their new status of cult TV by way of arranging TV programs into an intertextual network. Fans also contribute to the a TV program gaining its cult status through their involvement in appreciation societies and conventions which may eventuate into annual events that take place in the same venue resulting in the fans and their fandom activities being more highly visible and therefore easily stereotyped and depicted in media coverage (Hills, p. 519). Furthermore Hills (2004, p. 519) describes how the enthusiasm of fans results in the creation of a market for memorabilia, merchandise and props which are associated with their idolized TV shows and that fan interest in this cult TV paraphernalia continues on even once the shows no longer screen.
Wilcox & 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?
I would first like to quote Hills (2004, p. 522, line 1-2) “Defining cult TV as being either text- based, inter-textually activated or audience-led, forces what is actually a dynamic process of emergence into a conceptual straitjacket”
Secondly Hills (2004) discusses how it takes for a TV show to gain cult status and this comes about as a result of audience routines, repeat viewings and orchestrated fandoms among other things.
I myself struggle to place a TV show that I have watched recently into the cult status category so I will go out on a limb here and propose that the TV series “The Big Bang Theory” does contain many of the 9 characteristics which Wilcox & Lavery suggest define quality TV.
The Big Bang Theory is a comedy which has many writers of some of whom have been involved in the writing of very successful shows….
Bill Prady (co- creator, executive producer) writer and producer on Dharma & Greg & at age 22 went to work for Jim Henson (The Muppets) also did freelance writing for sitcom Married with Children.
Lee Aronsohn (executive producer) co created Two & a Half Men, writer and producer of Grace Under Fire and Cybill. First job as TV writer for The Love Boat.
Richard Rosenstock writer for Happy days, Laverne & Shirly and Mork & Mindy.
The list goes on…..(10 plus writers)
While the series is young it does have a memory and often refers back to events of past episodes.
The show also deals with real issues which viewers can connect with eg relationships and their trials and tribulations. Along with this the show approaches topics such as religion, race, culture, sexual orientation and even circumcision. For example there are characters that are Jewish, Staunch Christian, Hindu and Atheist.
The main character of The Big bang Theory Sheldon (Jim Parsons) has a large following online and his catch phrase” Bazinga” is now printed on T-shirts and can be purchased at Comic –Con International.
Here is a URL for TV Guide which lists the top 30 cult TV shows of all time; The Big Bang Theory is not listed perhaps it is too big or too young.
References
Hills, M. (2004). Defining Cult TV; Inter-texts and Audiences, The Television Studies Reader, R.C. Allen & A. Hill. London and New York: Routledge.
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: Rowan and Littlefield.
http://www.tvguide.com/news/top-cult-shows-40239.aspx
Hills (2004) discusses how fans are involved in the shift of particular TV programs to their new status of cult TV by way of arranging TV programs into an intertextual network. Fans also contribute to the a TV program gaining its cult status through their involvement in appreciation societies and conventions which may eventuate into annual events that take place in the same venue resulting in the fans and their fandom activities being more highly visible and therefore easily stereotyped and depicted in media coverage (Hills, p. 519). Furthermore Hills (2004, p. 519) describes how the enthusiasm of fans results in the creation of a market for memorabilia, merchandise and props which are associated with their idolized TV shows and that fan interest in this cult TV paraphernalia continues on even once the shows no longer screen.
Wilcox & 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?
I would first like to quote Hills (2004, p. 522, line 1-2) “Defining cult TV as being either text- based, inter-textually activated or audience-led, forces what is actually a dynamic process of emergence into a conceptual straitjacket”
Secondly Hills (2004) discusses how it takes for a TV show to gain cult status and this comes about as a result of audience routines, repeat viewings and orchestrated fandoms among other things.
I myself struggle to place a TV show that I have watched recently into the cult status category so I will go out on a limb here and propose that the TV series “The Big Bang Theory” does contain many of the 9 characteristics which Wilcox & Lavery suggest define quality TV.
The Big Bang Theory is a comedy which has many writers of some of whom have been involved in the writing of very successful shows….
Bill Prady (co- creator, executive producer) writer and producer on Dharma & Greg & at age 22 went to work for Jim Henson (The Muppets) also did freelance writing for sitcom Married with Children.
Lee Aronsohn (executive producer) co created Two & a Half Men, writer and producer of Grace Under Fire and Cybill. First job as TV writer for The Love Boat.
Richard Rosenstock writer for Happy days, Laverne & Shirly and Mork & Mindy.
The list goes on…..(10 plus writers)
While the series is young it does have a memory and often refers back to events of past episodes.
The show also deals with real issues which viewers can connect with eg relationships and their trials and tribulations. Along with this the show approaches topics such as religion, race, culture, sexual orientation and even circumcision. For example there are characters that are Jewish, Staunch Christian, Hindu and Atheist.
The main character of The Big bang Theory Sheldon (Jim Parsons) has a large following online and his catch phrase” Bazinga” is now printed on T-shirts and can be purchased at Comic –Con International.
Here is a URL for TV Guide which lists the top 30 cult TV shows of all time; The Big Bang Theory is not listed perhaps it is too big or too young.
References
Hills, M. (2004). Defining Cult TV; Inter-texts and Audiences, The Television Studies Reader, R.C. Allen & A. Hill. London and New York: Routledge.
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: Rowan and Littlefield.
http://www.tvguide.com/news/top-cult-shows-40239.aspx
Friday, October 1, 2010
Week 9
What role does Hills (2004) suggest the fans play in the construction of cult TV?
Fans assist in the construction of cult TV through forming an “intertextual network” (Hills, 2004, p. 518) based around a favoured show and which includes a range of other texts as well, with these 'networks' being called ‘cult TV’ (Hills), so differentiating these shows as having a "fan following" (Geairns, 1983, as cited in Hills, p. 519). As Hills states, “fans are keen to legitimate, defend and analyse their own consumption of cult TV” (p. 517). However, other fan activities also aid in constructing cult TV through, for example, “Appreciation Societies” (Hills, p. 519) and fans purchasing items relating to their cult TV show (Hills, 2004), so reinforcing its ‘cult’ status. The fan gatherings “give fandom a spectacular visibility, meaning that it can be stereotyped and represented in media coverage” (Hills, p. 519) and so labelled as ‘cult TV’.
How is new media central to this?
As Hills (2004) states, “fan activities are carried out both online and in real life” (p. 519). However, new media allows fans to more easily obtain information about their cult show and to communicate among themselves about their shows (Hills). Also, the internet assists in creating interest towards shows from a wider and more diverse fan base (Hills). The internet also assists a show becoming cult TV by allowing and making acceptable the notion of being a part of a cult fan group (Hills). Or, as Hills states, the participation as a fan as being considered “less distinctively ‘anti-mainstream’ and less subcultural” (p. 519).
Having watched Buffy the Vampire Slayer, I can understand why it would become a cult TV program, but I find it difficult to believe people would be interested in watching a program where they couldn’t see the characters, as I understand was the case in one program?
I looked on the web at a few of the “Buffy” sites, and was impressed at how passionate people are about their favourite TV show. But I can’t understand why people would want to watch the same program over and over and over . . . It would become a bit like listening to a favourite song. After awhile it loses its original impact. But I suppose if one is a fan, then looking repeatedly at the program allows the fan to assimilate all aspects of the program so that they can better discuss the show right down to the minute details.
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.
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