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?
2)
ReplyDeleteFans are essential in any successful from of art, sport or product, fans are the consumers and dictate how well, said art form does. In terms of television and movies, fans take their love and praises of the show or movie to the next level, through forming fandoms, creating fanfiction, or just generally showing their admiration. Hills (2004) goes into detail regarding a fans role in the construction of cult TV. Hills, has three definitions of a relatively new phrase ‘cult TV’ which discusses the power of fans and their role in cult TV.
Hills (2004) first definition of cult TV suggests that “…cult TV can be self-consciously designed by media producers. This argument also implies that this genre is best thought of as a group of texts, often hailing from the genres of science fiction, fantasy and horror.” (Hills, 2004). Simply speaking, Hills is stating that cult TV greatly depends on the text, and some genres are more likely to have a cult following than others. Thinking of various fandoms there are many for shows such as Buffy the Vampire Slayer, Twilight, Harry Potter, Sherlock Holmes, Lord of the Rings, and the Vampire Diaries, these are all science fiction, fantasy horror shows/movies that have large followings similar to cult TV. Comparing these fandoms to other shows such as Friends, Grey’s Anatomy, Gilmore Girls or That 70’s Show, there is a severe lack of cult TV culture surrounding the later shows. It can be said that cult TV culture is created around a specific type of television/movie, ones where the characters are not mortal, or have powers and abilities that the average human does not.
The second definition states that cult TV is formed through secondary texts, this means the analysis of such fan fiction texts, or “commercially available fan magazines, within which certain programmes are described as cults” (Hills, 2004). This point argues that cult TV is created in fact through media speculation, as opposed to the fans themselves, as they are the ones being labelled by the media. Hill (2004) states that this causes the questions, which TV shows get named as cult TV series, and what is the reason for this? Hills (2004) argues that one of the reasons the fantasy horror genre has such a large cult TV following is due to the integration of superior beings into a mundane life. People enjoy watching a vampire attend high school, or a time lord live in England in a somewhat mundane scenario. It is perhaps this combination as to why cult TV has such a large science fiction following.
The third and final definition of cult TV is that it is created by loyal dedicated fans, not the media. This definition states that the cult status of a TV show depends only on the fans and just how faithful they show themselves to be, through the various activities and ways they express their devotion. Many fans in cult TV are so involved and devoted to their chosen TV show that they often will partake in some sort of activity, that shows their appreciation of the show. Such as creating a fan fiction piece, becoming a part of fandoms for said show, joining online discussions or defending their show to anyone who disregards it.
Hills, (2004) suggests that fans are a central part to cult television in his last definition by stating that through a fans actions comes cult TV, and that it is not up to the media or secondary texts to be held responsible. New media is central to this by giving many cult TV shows the platform they need, to form and be a fandom to discuss the show, write, and share fan fictions and so on. Having various social platforms such as Instagram, Facebook, and differing discussion threads allows for fandoms to be what they are today. New Media is a necessity when it comes to cult television and it is doubtful that it would be as widely known if it were not for new media.
Hills, M. (2004). Defining Cult TV; Texts, Inter- texts and Fan Audiences, The Television Studio Reader. London and New York: Routledge.
QUESTION 1
ReplyDeleteAccording to Wilcox and Lavery (2002), there are 9 distinct characters that constitute ‘quality television’ productions:
1. Quality pedigree: Wilcox and Lavery (2002) state quality television producers are those credible reputations in other media such as classic films, plays and literature. Joss Whedon’s contributions are claimed to go uncredited in works such as Toy Story (1995), Waterworld (1995), X-Men (2000) and Titan A.E. (1996).
2. A journey to reach an appreciative audience: Producers of quality television ensure their production reaches the intended audience who will sustain their interest in show production. This means as the resources increase for the show, so will the quality and it’s ability to reach and maintain loyal viewers.
3. Quality T.V. has a large ensemble cast which enables a variety of perspectives and alternative or multiple narratives opportunities making the production a complex text which several aspects and obstacles. The ensemble cast which results in several sub-plots demonstrates the production and directive quality required to ensure the plots meet one another at practical points which shifts and adds substance to the continuity of the show.
4. Likewise, the production has a memory of previous unfinished sub-plots, events and minor characters. These minor events from previous episodes are referred and recalled in subsequent episodes using dialogue, props, colours or settings to create reference to indicate the relation between events.
5. Creates a genre by mixing classical and modern genre elements: For example, Buffy does not fit exclusively into one genre category as it borrows elements from neglected TV genres and integrates it into aspects the show creating an ambiguous and undefinable genre label. Quality TV has the ability to take traits of the genre which were trialled and failed due to audience misinterpretation of the art form and presents the traits as a new genre altogether.
6.The production is literary and writer-based and reflects the interests and aims of the creators as opposed to catering the narrative to an audience. This results in the production referencing current events, issues in society and creates attitudes toward societal development at the time. In addition, often other writers who co-create the narrative are able to share and present their visions through similar experiences and references to the real world.
7&8. Emits evidence of self-consciousness (perhaps due to it being writer-based) by presenting controversial issues in society and creating discourse within the narrative around groups affected and implications of the issue. Wilcox and Lavery (2002) suggest as Buffy was not a mainstream production, therefore, avoided public backlash when discussing controversial issues such as rape or same-sex relationships.
9. Aspires to realism through the use of relatable characters and events to induce feelings of sympathy within the viewer. Whilst Joss Whedon presents Buffy in a fantasy landscape – what one would suggest as being an alternative reality – the substance of the show aims at identifying with the audience and their experiences.
The characteristics as described by Wilcox and Lavery (20020) are widely accepted and referenced by many other academic scholars, the main characters to be agreed on and most applicable to define ‘quality tv’ is the production’s ability to integrate ‘realism’ and relatability to real-world societal events. For example, Kubey and Csikszentmihaiyi (2009) suggest TV series Breaking Bad are comparable as it reflected American society’s increasing drug production and implications on families and communities.
Kubey, R., & Csikszemtimihahiyi, M, (2009). Television and the Quality of Life: How Viewing Shapes Everyday Experience. London, U.K: 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: Rowman and Littlefield.
5) 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 genre is characterised by: a combination of horror and romance elements; emotional extremes; gothic settings such as castles, mansions, and basements; elements of fear, mystery and suspense, supernatural, and death; women in distress; the central heroine figure; gothic villain(s); powerful love where emotions create life or death commitment; uncertainty of reciprocation of love; tension between true love and father’s control; and lovers parting ways (Harris, 2013; Howells, 2014; Hockings, 2017). Many – but not all – of these features can be observed in Joss Whedon’s Buffy the Vampire Slayer (BTVS), premiered in 1997.
According to Rose (2002), the cast of BTVS “embody a modern reimagining of Romantic ideology”; this is particularly evident in the episodes “Goodbye Iowa” and “The I in Team”. Adam – a monster created by Professor Walsh who runs a top-secret organisation “The Initiatives” – is comparable to the monster created by Dr Frankenstein in Mary Shelley’s nineteenth-century Gothic novel, Frankenstein. Both Adam and Frankenstein’s creature: 1) were a result of a scientific experiment; 2) escaped from the laboratory resulting in destruction and casualties; 3) wanted to know who they are and what is their purpose of existence; and 4) encountered and killed a young boy. Similar to Shelley’s Frankenstein, BTVS addresses concerns for technological development and industrialisation on society. Professor Walsh’s faith in science defeats her as the monster she created killed her. These issues remain relevant in contemporary times –such as environmental impacts of industrialisation.
Typical elements of gothic romance can also be observed in BTVS. With reference to the episode “Goodbye Iowa”: 1) Buffy and Riley exhibit “powerful love” in life and death situations; 2) Buffy was uncertain of Riley’s reciprocation of love as she often falls in love with guys who don’t reciprocate; and 3) there were indications of “tension between true love and father’s control”, in which Professor Walsh and “The Initiative” were obstacles to Buffy and Riley’s relationship.
While BTVS is largely influenced by the romantic gothic tradition, it is intertwined with contemporary notions. According to Harris (2013), “women in distress” is a prevalent feature in gothic genres. However, BTVS revokes this tradition; Buffy is a beautiful blonde girl, who is fearless and has great ability to fight monsters –and triumphs. Knowles (2007) points out that there are very few female characters in BTVS who are unable to fend for themselves in dangerous situations. Jarvis (2001) adds that girls do not expect males to rescue or look after them, as they can look after themselves and fight the evil forces based on their own means. Knowles (2007) reinforces that Whedon had a desire to deliberately reverse gothic’s association of femininity with victimhood, thus allowing Buffy, the heroine, the power to fight back.
DeleteBTVS reflects teenagers’ concerns relating to high school lifestyle, relationships, and sexuality. Correspondingly, the horror narrative is predominantly set in Sunnydale High School. Contemporary issues addressed in BTVS include social acceptance and popularity, girls’ anxieties about relationships with boys, and management of sexual desires and experiences. According to Jarvis (2001), the criteria for success and failure – socially and academically – are set in schools; it is a world where “individuals are accepted or rejected on an almost daily basis” (p. 257). Jarvis (2001) convey that teenagers face the fear of being ostracised and lonely, and struggling to meet social expectations. These are challenges that teenagers tend not to seek help from parents and teachers. The portrayal of teachers – as inadequate and evil – in BTVS also corresponds with teenagers’ perception of and aversion towards them. For instance, Professor Walsh turns out to be the creator of a destructive monster, Adam, who is a contemporary version of Frankenstein’s creature.
To conclude, BTVS infuses the romantic gothic tradition with contemporary concepts.
References:
Harris, R. (2013). Elements of the gothic novel. 2008-10-11]. http://www. virtualsah, com/gothic, htm.
Hocking, D. (2017). Intertext and subtext [Powerpoint slides]. ENGL Popular Genres. Powerpoint
Howells, C. A. (2014). Love, mystery and misery: Feeling in gothic fiction. A&C Black.
Jarvis, C. (2001). School is Hell: gendered fears in teenage horror. Educational Studies, 27(3),
Knowles, C. (2007). Sensibility Gone Mad: Or, Drusilla, Buffy and the (D) evolution of the Heroine of Sensibility. In Postfeminist Gothic (pp. 140-153). Palgrave Macmillan UK.
1. What roles does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?
ReplyDeleteHills (2004) suggests a cult arises through the audience’s passion rather than the efforts of the content producers. Cult television such as Buffy uses repetition and accumulation of ideas which the audience willingly embraces as the narrative structure. For example, the content must demonstrate it’s own rules and norms in order to present the opportunity for accumulation of a cult audience who transfer and practice the production’s context into the real work. Ultimately the fans’ role in the construction of cult TV is to unanimously identify and agree amongst other viewers on the qualities and representations that resigned with them in some way and come together to collectively appreciate the production.
Likewise, Jenkins (2002) suggests particular online cult communities are self-organising and share a strict focus on the appreciation, debate and interpretation of the collective productions. The fans role is considered to be a support role for those within their community, by passing information from one viewer to the other to inform the group on the production’s history or recent developments which may have been missed by a sub-group within the collective. Hill (2004) and Jenkins (2002) discuss the internet role in fandoms and cult television, as it alters the scope of communication. For example, Japanese fans collaborate with American views of Japanese content to encourage American consumption of similar independent and underground productions to help American views further understand cultural references, genre traditions, and production histories.
Thus, the role of fans in cult tv is regular translate and discuss the contents of the media they collectively enjoy to facilitate cult sustainability and growth.
REFERENCES
Jenkins, H. (2002). Interactive audiences? The collective intelligence of media fans. The new media book, 157-176.
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.
4) Buffy The Vampire Slayer (Cult TV Show) - How does Buffy deconstruct traditional literary notions of good and evil?
ReplyDeleteThe traditional notions of good and evil have previous been very ‘black and white’ especially in literature, for example the good guys are the ‘hero’s’ and they save those around them by killing the ‘evil’ who are also known as the bad guys, both good and evil are very opposite, the good guys hate the bad guys, however there are TV shows, novels and movies who deconstruct these black and white notions. Buffy the vampire slayer is one of many of the shows that challenge and ‘deconstruct’ the traditional notions of good and bad, Buffy is destined to slay vampires, so this suggests that she is the ‘good guy,’ or the ‘hero,’ however she falls in love with a vampire called Angel. The simple fact that Angel is a vampire makes the good and evil opposite non-existent, so already the traditional notions of good and evil have been challenged.
Angel is a vampire, however he has a soul and so cannot hurt anyone so he is willing to help. Again Angel’s character alone challenges the traditional notion of good and bad because being a vampire means he is evil and is supposed to hurt people, not want to help people. This completely twists the traditional notion of good and evil, however it enhances Angel’s character and may intrigue audiences to like Angel as a character, by challenging the notions of traditional good and evil, it is something different and draws more audience members in.
Another example in the series Buffy the Vampire Slayer of the deconstruction of the traditional notions of good and evil can be seen through the analysis of the character Willow, she is portrayed as a character who is good or a ‘hero’ however she still tries to use her witch powers to kill people. The examples of Willow and Buffy and Angel prove that the traditional notions of good and evil characters in series, novels and comics are no longer as dominant as they may have been in the past, Buffy the Vampire slayer is one of the many series that deconstructs these traditional notions of good and evil.
References
Fandom. (2017). Buffy the Vampire Slayer. Retrieved from http://buffy.wikia.com/wiki/Buffy_the_Vampire_Slayer
Gross, E. (2017, March 9). Buffy The Vampire Slayer Turns 20: Joss Whedon Looks Back. Retrieved from https://www.empireonline.com/movies/features/buffy-vampire-slayer-turns-20-joss-whedon-looks-back/
Humanist Mom. (2015, January 20). The Battle between Good and Evil - Humanist Mom. Retrieved from http://humanistmom.com/the-battle-between-good-and-evil/
Wikipedia. (2017, October 28). Buffy the Vampire Slayer. Retrieved from https://en.wikipedia.org/wiki/Buffy_the_Vampire_Slayer
Wikipedia. (2017, September 15). Conflict between good and evil. Retrieved from https://en.wikipedia.org/wiki/Conflict_between_good_and_evil