Weeks 10 and 11 – Buffy.
1) Q. Wilcox and Lavery
(2002) identify 9 defining characteristics of 'quality TV' - can you apply any
of these to other television series that you have viewed recently? Are there
any other characteristics that you could add to their list?
2) What role does Hills (2004) suggest the fans
play in the construction of cult TV? How is new media central to this?
3) Hills (2004)
lists a number of defining characteristics of cult TV that contain similarities
to the defining characteristics of pop genres (e.g. fantasy, science fiction)
discussed earlier in the Pop Genres paper. Can you identify these and discuss
why you think that these characteristics are repeatedly viewed as underpinning
popular genres?
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Delete1) Q. Wilcox and Lavery (2002) identify 9 defining characteristics of 'quality TV' - can you apply any of these to other television series that you have viewed recently? Are there any other characteristics that you could add to their list?
ReplyDeleteWilcox and Lavery identified 9 defining characteristics of quality TV as I cited below:
1. Quality TV usually has a quality pedigree (seasons).
2. Desirable demographics notwithstanding, quality shows must often undergo a noble struggle against profit-mongering networks and non-appreciate audiences.
3. Quality TV tends to have a large ensemble cast.
4. Quality has memory.
5. Quality TV creates a new genre by mixing old ones.
6. Quality TV tends to be literary and writer-based.
7. Quality TV is self-conscious.
8. The subject matter of quality TV tends to toward the controversial.
9. Quality TV aspires toward ‘realism.'
As a big fan of television series, I actually can apply some of the defining characteristics of the text to the television that I have watched. The quality TV that I have to mention is Big Bang Theory and Friends. I think they both are quality TV and they applied to the first characteristic – they both have multiple pedigrees.
Big Bang Theory and Friends also applied to the second characteristic – they both are desirable demographics notwithstanding because they are comedies from real life and audiences usually find it interesting. Most importantly, audience appreciates it and found connections with them because it bases on the real life.
They both applied to the third characteristic – they both include ensemble casts. For example, the James Joseph Parsons as known as Sheldon Cooper in Big Bang Theory. He has received several awards for his performance, including four Primetime Emmy Awards for Outstanding Lead Actor in a Comedy Series[6] and the Golden Globe Award for Best Actor in a Television Series Musical or Comedy. Kaley Christine Cuoco was as known as Penny in Big Bang Theory. She has received Satellite, Critics' Choice, and People's Choice Awards. Many of the actors in the show won rewards and remarkable at acting. Now back to Friends, as cited in Wikipedia, the show “With an ensemble cast starring Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc, Matthew Perry and David Schwimmer, the show revolves around six 20-30 something friends living in Manhattan.” Jennifer Joanna Aniston as known as Racheal Green was a prominent actress. She is one of the highest paid actresses in Hollywood, and her net worth is estimated to be US$200 million. She has also been included in magazines' lists of the world's most beautiful women.
Friends and Big Bang Theory also applied to the fourth characteristic – they have a memory for readers to remember. For example, I still remember the scene in Big Bang Theory when Sheldon knocked penny’s door three times and said “Penny, Penny, Penny.” And I also remember when Joey tried to flirt with a girl when he said “How you doing” with his expression. I just cited two that I remember the most, of course, there are many that I still remember from the show.
The also applied to the fifth characteristic, for example, Big Bang Theory mixed comedy, drama, romance, action, and adventure to create a new genre. But friends only have romance, comedy, and drama.
The sixth characteristic is the one they didn’t apply to, but Game of Thrones applied to the sixth – because the TV is an adaptation of A Song of Ice and Fire, George R. R. Martin's series of fantasy novels, the first of which is A Game of Thrones. I watched the TV, and most of the storylines are relatable to the book.
For the seventh characteristic, worth to mention Broken Girls and Gossip Girl, they are self-conscious and references to Big Bang Theory and Friends. Because they slept with each other due to the senses of humor and similar scenes. Big Bang Theory and Friends are lead the controversy, for example, Raj as an Indian character in the TV has a strong Indian accent. That is racism, and he’s been portrayed as the foreigner who tries to understand American culture and fails. However, Friends lead the controversy with the confused sexual relationship with each other. They are friends, but they slept with each other, that’s something intolerant in real life. That’s same to Gossip Girl when the friends have an unhealthy and immoral relationship with each other and seem normal.
DeleteFor the last characteristic – the Realism, I think I don’t need to explain it that much. Because they all are something could be happening in real life, the jokes and scenes seem just normal as like to watch your friends to make fun of each other, audiences actually can relate to most of the jokes and stories. For me, I can relate to most of the jokes and somehow I do have friends like Joey in Friends and Sheldon in Big Bang Theory. My friends share the same personalities with them, one of my friends always hook up with different handsome boys and one of my friend is so into anime and not interested in human social and relationships. The only thing we talk about is anime. I think if I could add one more characteristic to Big Bang Theory, it could be something relate to the scientific stuff, as we saw many physics or biology experiments on the TV.
References:
Wilcox,R & Lavery, D. (2002). Introduction, in R. Wilcox & D. Lavery (eds).
5) In what way is Buffy influenced by the romantic gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?
ReplyDeleteBuffy, season four, cleverly refashions Mary Shelley’s 1818 romantic gothic tale, Frankenstein, employing central, for the most part, everlasting, immortal ideologies in an alternative contemporary context. This season captures the storyline, however, moulds the outcome and characters for a more contemporary critique of this gothic tradition.
Mary Shelley’s Frankenstein (1818) is a veracious representation of romantic gothic traditions, depicting a narrative filled with science, monsters, horror, and loss, while also asking the tough questions. Questions such as “Just because technology makes a thing possible, is it right to do it?” (Rose, 2002, p.137) and “whether in the pursuit of knowledge, we risk our humanity“ (Rose, 2002, p.141). These questions also represented in Buffy the vampire slayer Season four, The I in team 4013 & Goodbye Iowa 4014, (1999) as Buffy and her Scooby gang protect humanity against a Frankenstein like monster created by Professor Walsh. While Buffy reinvents Frankenstein, in many ways it does still cleverly portray the general storyline of this romantic gothic tradition. Both narratives contain a monster created through the use of science by a mad scientist, Frankenstein at a university while professor Walsh uses a secret military base. These monsters then awake and in their pursuit of identity and purpose, they murder an innocent child. In both stories the monsters survive; Frankenstein’s monster survives literally, however professor Walsh’s monster dies physically, however, the technology remains accessible to those who may seek to create such a thing again.
While Buffy the vampire slayer (1999) sticks to some identifiable traditional elements of Frankenstein (Shelley, 1818) it also seeks to modernise and reimagine these romantic ideologies. Romantic poets of Shelley’s time viewed romantic hero’s as “solitary, noble” (Rose, 2002, p.135) male characters that were misunderstood. Buffy alters this notion creating a female protagonist that is anti-patriarchal, strong and understands the value of strength through a community, these values ultimately change the course of the narrative. Another major alterations or rejection of this romantic gothic tradition is when the monster Adam wakes up and kills his creator, Professor Walsh. Instead of seeking acceptance and a family like Frankenstein’s monster, Adam discards his maker and begins to create his own army through the use of technology, a modernised twist. Buffy the vampire slayer utilises these modern critiques to answer those age-old questions presented earlier with a “resounding yes” (Rose, 2002, p.141), through the use of technology and in our pursuit of knowledge we will lose our humanity, that just because we can, doesn’t mean we should. Frankenstein paid the ultimate price, losing his innocent family who was unaware of what he had done due to his neglect of nature and thirst for knowledge (Rose, 2002, p.142). Whereas, Buffy defeats the physical monster, Adam, through the help of her community, a little magic and minimal technology resulting in only one innocent life being lost.
Buffy the vampire slayer employs a beautiful contemporary critique of Frankenstein, staying true to the baseline of the romantic gothic story, however, remaking elements to answer the age-old questions, that began with Mary Shelley, in a neat intriguing manner.
References:
Rose, A. (2002). Of creatures and creators: Buffy does Frankenstein, in R. Wilcox & D. Lavery (eds). Fighting the forces: What’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield
Shelley, M. W. (1818). Frankenstein: The modern Prometheus. London, England: Lackington, Hughes, Harding, Mavor & Jones.
Whedon, J., Noxon, M., Espenson, J., Fury, D., Petrie, D., & Forbes, T. (Producer). (1999). Buffy the vampire slayer [Television series]. United States: Mutant Enemy
Question 2: What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
ReplyDeleteHills (2004) defines ‘Cult TV’ as how far fans passion for the show extends. He goes onto say that cult status arises, ultimately through an audience’s passion for a TV show, having the show almost created by the fans than by media producers. To every TV show there are fans, but that does not make every show of the Cult TV variety. Being a fan of Cult TV means more than displaying ‘special devotion’ but at the very least being able to account for, defend, analyse and critically appreciate one’s favoured programme (Hills, 2004). It is common for entertainment programmes to attract three different kinds of viewers; casual viewers, devoted viewers, and avid fans. The distinguishing factor from normal programming and cult TV is the majority of viewers in Cult TV are avid fans. An avid fan will be someone who goes past the point of watching every episode multiple times, but enthusiastically takes on the show as self-definition (Smith, 2001).
It is these fans that play a part in generically re-organising Cult TV. Many networks today are starting to understand that fans have power, and are now focusing on the quality of fans rather than the quantity. It is fans of Cult TV that networks, studios and writers are aiming to attract as these viewers will tweet, tumble and tell everyone about their love of the show (Burt, 2016). Avid fans do more – watch more, share more, buy more, participate more and overall promote more through their dedication to the show (Kresnicka, 2016). Internet has become a primary platform for marketing and advertising new programmes as the most targeted demographic for viewers are the tech-savvy generation.
In the modern age, the success of a show is measured not only by official ratings but by social media engagement, which is often reflected by fandoms. Social media sites such a Facebook and Twitter, make it easier for fans of Cult TV to gather as a fandom within their collective groups, where they all share a profound passion for a certain show (Social Media Makes Sense, 2017). Fandom is slowly but surely changing the way businesses create, share and distribute advertisements of a show as their strategy is now aimed to engage with and create hype among fans on social media sites. Again the main platform is social media sites, where groups for TV programmes have been created and focus on fan base interaction rather than widespread promotion. A Cult TV show does not start off popular, if anything the fandom demographic is humble but the aim is - and has become - that the avid fans promote the show socially and online (Hills, 2004). As mentioned previously, this is a strategy that is seeing a high success rate. There are many modes to fandom with social media as the central platform. For example: fan-fiction, fan talk, commentaries, episode guides, Vlog reviews, fan art – each set in a different setting that further promotes the show’s popularity through the deep devotion and passion of fans.
Many shows can be identified as Cult TV such as Buffy the Vampire Slayer, Doctor Who and Star Trek. These shows gathered many avid fans and popularity big enough for world-wide conventions. The fans of these collective fandoms go as far as making merchandise and props that relate to their much loved show, again using online sites [social media] to sell.
Fandom’s play an imperative role in marketing TV shows, especially in this modern age, with social media being a central platform to enhance not only the fans shared enjoyment but the success of the show itself.
References:
DeleteBurt, K. (2016). What TV Networks Still Don’t Understand About Fandom. Retrieved on 25 October from http://www.denofgeek.com/us/tv/sleepy-hollow/254450/what-tv-networks-still-dont-understand-about-fandom
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.
Kresnicka, S. (2016). Why Understanding Fans is the New Superpower. Retrieved on 25 October 2017 from http://variety.com/2016/tv/columns/understanding-fans-superpower-troika-1201743513/
Smith, D. (2001). What is Cult TV? Retrieved 25 October 2017 from http://www.culttv.plus.com/whatis.html
Social Media Makes Sense. (2017). Importance of Fandoms to TV Show success. Retrieved on 25 October 2017 from http://www.socialmediamakessense.co.uk/importance-fandoms-show-success/
2) What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
ReplyDeleteHills (2004, p.517) defines that instead of just displaying subjective enthusiasm, a fan of cult TV needs to attempt to "account for and defend one's fan passions" and to "critically analyse and appreciate one's favoured text" as well as to attempt to "ward off negative portrayals of fan cultures". According to Hills (2004), cult fans play a significant role in the cult TV because their lifestyles and identities have influenced then they might be keen to legitimate, defend and analyse the consumption of cult TV.
Although cult status seems to be constructed by producers, or to side with models of media power and with a more romantic version of cult status as somehow created by fans, Hills (2004) argues that these approaches are overly simplistic and he points out that there are four ways to create cult status. First, fans organise TV programmes into an intertextual network which does not seem recognisable as an industry-led, generic grouping (Hills, 2004) . In other words, many fans like to put individual series into a broader fan community then link to an intertextual network composed of many programs, films, comics, books and other popular materials (Hills, 2004) . Second, in order to distinguish the networks of cult texts from other texts, fans self-consciously use the term 'cult' (Hills, 2004) . In addition, cult fans have organised themselves socially into Appreciation Societies where fans of cult TV can gather for conventions and share their interests (Hills, 2004). Hills (2004) notes that as joining in Appreciation Societies, fans of cult TV may have a sense of communal fan distinctiveness and work together to produce commentaries, fan fiction, episode guides and production histories which could sustain the distinctiveness of fandom as a community that links the intertextual network of cult TV shows in a characteristic way. Furthermore, cult fans "create a market for memorabilia, merchandise and props" in terms of their much-loved TV programmes, even long after the cancellation and mass-merchandising of these TV shows (Hills, 2004, p.519). As technology has developed and advanced, most fan activities carried out both in virtual spaces and real life (Hills, 2004). At the same time, Hills (2004) claims that by making it easier for fans to contact other like-minded devotees and allowing more people to participate in fan culture and designate more television programmes, the Internet which is seen as a mainstream media, creates more opportunities to have the possibility of small-scale organised fandoms emerging around a wider variety of TV shows. Hills (2004) adds, because more Internet users engaged in some forms of fan activities, fandom seems to move from cult status towards the cultural mainstream.
In conclusion, fans of cult TV play an important role in connecting with an intertextual network and a community of cult culture. The Internet has become a mainstream media which is commonly used by the fans of cult TV and the Internet can easily make cult fans keep in contact and cooperate with other cult like-minded devotees.
Reference:
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.
In what way is Buffy influenced by the romantic gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?
ReplyDeleteThe romantic gothic tradition focuses on horror and romance and redefining emotions such as terror and awe with emotional extremes and dark themes. Inspired by the Medieval world, Gothic Fiction was obsessed with the unknown and the mysterious. "Traditional literary Romanticism expresses admiration for a male Romantic hero who struggles with the opposing forces within his psyche. The conflicting pulls of social/antisocial impulses, emotion/intellect, and.. nature and technology often manifest these opposing forces." (Rose, 2002).
When looking at Mary Shelley's Frankenstein we can understand how the Gothic tradition has influenced Buffy the Vampire Slayer. These influences is reflected through the theme of science and the several motifs of Gothic literature that Frankenstein and Buffy share such as a dark and mysterious atmosphere as well as its similar characters and plotlines. The character of Adam is an adaptation of Frankenstein's monster as they are both experimentations gone wrong, killing innocents but still trying to understand the world, themselves and their purposes in life. However, Buffy provides a contemporary critique of this tradition through the confrontation of gender roles and other social issues. Typically, the Gothic genre would involve a helpless frightened heroine in need of a protector to save her. Buffy breaks these barriers and instead of a damsel in distress we have a "force to be reckoned with" (Rose, 2002). Buffy is a strong and powerful heroine in comparison to Victor Frankenstein, who is lonely and sensitive. Buffy the Vampire Slayer also enables different age groups to enjoy it because its main characters are high school students.
Whether or not Buffy the Vampire Slayer is an adaptation of Mary Shelley’s Frankenstein is debatable for many people. However, if we look at both of them closely, we can definitely see the similarities. What differentiates Buffy from the classic Gothic genre are the elements of post modernism and feminism. What we're left with is a cult favourite, the romantic gothic tradition evolved, fashionable and current.
References:
Rose, A (2002) Of creatures and creators: Buffy does Frankenstein, in R. Wilcox & D. Lavery (eds) Fighting the forces: what’s at stake in Buffy the vampire slayer. Lanham: Rowman and Littlefield.
Hi Emily,
DeleteI totally agree with your statement. Yes, Buffy the Vampire Slayer seems an adaptation of Mary Shelley's Frankenstein and it could even be a new and fresh plot for audiences. This is because Buffy the Vampire Slayer, as a cult TV programme, needs to "establish detailed narrative continuity which could be trusted and appreciated by audiences" and "break with or alter this continuity in order to preserve audience interest" (Hills, 2004, p.511). As Hills (2004) claims, one of the key ways that cult TV appeals to its audience over time is the transformation from exotic or extraordinary into ordinary. In other words, Buffy the Vampire Slayer, as a cult TV programme, may not follow the classics Frankenstein too much because it needs some new changes.
It may also be interesting to note that in order to attract more audiences, the transformation of the sex lives of cult TV characters have appeared in the cult TV narratives (Hills, 2004). For example, the protagonist of Buffy the Vampire Slayer is no longer a male character who always protect a helpless female around him but it is changed to a female character with strong figure who could protect herself and fight with vampires. At the same time, no matter which relationships the characters have, cult TV also portrays trusting relationships within a close-knit community, which are often "bound together through shared knowledge of the fantastic" as well as through "the acceptance of characters' extraordinary status" like the Scooby Gang in Buffy the Vampire Slayer (Hills, 2004, p.512).
Rachel
Reference:
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.